By Dana Ter
When I wrote an article on top 5 Asian rom-coms for 2013, a reader asked me why not cover Asian American movies? I thought about it but realized that there weren’t many that were recognized as real Hollywood blockbusters. At least not since The Joy Luck Club in 1993.
It’s no secret that Asian Americans are underrepresented and misrepresented in Hollywood. Blogs like 8Asians and Angry Asian Man have been vocal about this. But it’s especially tough for Asian American women trying to make a living in the entertainment industry. Actress and filmmaker Joyce Wu (pictured) told Mochi Magazine that when she first moved to New York, almost every role she auditioned for was “a prostitute, illegal immigrant or massage parlor worker.” All of which are highly unrepresentative of Asian American women who like any other young people, have dreams and aspirations too.
As such, a lot of them are taking it into their hands to produce films which depict a broader range and diversity of experiences with Asian American female leads. A notable movie which flew over our heads 9 years ago is Saving Face, directed by Taiwanese American filmmaker Alice Wu. This unconventional rom-com is about a young Chinese American woman who falls in love with another girl and hides this romance from her single mother who has a secret of her own – she’s pregnant.
Wu hinted to the New York Times that she was encouraged to rewrite the script to replace the lesbian love affair with a heterosexual one and cast white characters, having Reese Witherspoon play the daughter. Wu refused, insisting that cultural elements were crucial to plot and character development. She made the right decision, because Saving Face provides much-needed commentary on how difficult it can be for Asian American women to live up to certain standards set by their families and communities, as well as America’s expectation in general for Asian people to conform to the “model minority” image.
In similar fashion, Korean American filmmaker Christine Yoo wrote Wedding Palace in order to give Asian American actors and actresses a chance to play more three-dimensional roles. Tracing the misadventures of a Korean American who flies to Seoul to find his true love, the rom-com also reflects international travel which characterizes a lot of people’s lives nowadays. The plot is crazy and the characters are even a little far-fetched, but the film breaks down widely-held perceptions of Korean households being strict and conservative.
While Alice Wu and Christine Yoo are more seasoned, young female filmmakers are continuing this tradition. For instance, She Lights Up Well, which is currently in post-production, will be based largely on filmmaker Joyce Wu’s personal experience – a young unemployed Asian American actress who moves back to her hometown of Detroit to revive a community theater by directing a play. The film promises to highlight the difficulties that Asian American women face in showbiz, as well as introducing a strong female lead.
Finally, Wendy J.N. Lee’s documentary Pad Yatra about a Himalayan trek to raise environmental awareness is not about Asian American women per se, but Lee is a another great example of a young Asian American woman excelling in the indie filmmaking industry.
Hopefully, the next time someone asks me about my favorite Asian American movies I’ll be able to name more than just The Joy Luck Club off the top of my head. Asian American female filmmakers are taking initiative themselves and making films in which they’re not just portrayed as an ethnic best friend, manicurist or kungfu-fighting femme fatale – and it’s about time that Hollywood pays attention to them!
RE: Not Your Asian Sidekick on screen–Asian American women filmmakers Not going stop Asian females from assimilating into western society , racially and culturally