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CELEBRATING 40 YEARS
FREE EST. 1974 —SEATTLE VOLUME 41, NUMBER 2 — JANUARY 15, 2014 – FEBRUARY 4, 2014
THE NEWSPAPER OF NORTHWEST ASIAN PACIFIC AMERICAN COMMUNITIES. FIND YOUR INSPIRASIAN.
SHOW TIME! SAAFF L OFFICIAE GUPAIGDE 7
LGBTQ FILM SHOWCASE | 10
REMEMBERING VIERNES AND DOMINGO | 12
GRACE LEE BOGGS’ RELENTLESS ACTIVISM | 15
2 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
IE OPINION Community Voice
On a rainy morning, Thursday, January 9, about 100 people joined the “Rally Against the Act of Violence of the Cambodian People Party (CPP)” at the Federal Building in Downtown Seattle to condemn the violence against peacefully protesting garment workers in Cambodia. Five people were killed, 40 injured, and 23 arrested in response to striking workers and other peaceful demonstrators last week. • Photos by Travis Quezon
IE STAFF
Established in 1974, the International Examiner is the only non-profit pan-Asian American media organization in the country. Named after the International District in Seattle, the “IE” strives to create awareness within and for our APA communities. 622 South Washington Street, Seattle, WA 98104. (206) 6243925. iexaminer@iexaminer.org.
IE BOARD OF DIRECTORS Gary Iwamoto, Vice President Arlene Oki Andy Yip ADVISOR Ron Chew DEVELOPMENT MANAGER Kathy Ho advertising@iexaminer.org
BUSINESS MANAGER Ellen Suzuki finance@iexaminer.org
EDITOR IN CHIEF Travis Quezon
editor@iexaminer.org
ARTS EDITOR Alan Chong Lau
INTERNS Chelsee Yee Chi Nguyen
CREATIVE DIRECTOR Ryan Catabay ryan@RN2.co
EVENT LOGISTICS COORDINATOR Holly Martinez
PRODUCTION DESIGNER Nari Fateha
PROOFREADER Anna Carriveau
HERITAGE SPECIALIST Eleanor Boba
CONTRIBUTORS Mae Jacobson Atia Musazay Anna Carriveau Amy Huang Simon Astor Yayoi Winfrey
iexaminer@iexaminer.org
ARCHIVIST Ben Abraham Paige Minister
“It’s very painful. Sometimes I can’t even go to sleep looking at the horrible armed forces [of Cambodia Prime Minister Hun Sen] that kill innocent garment workers that just try to survive just like me and you. … I am just one of them, too. Even though I live here [in Seattle], I don’t have that kind of killing going on but I still feel for them. I support them with money, and by coming here to protest. At least they know that we care, even though we live in a peaceful world, overseas here in the U.S.” —Saroeuy Ney
International Examiner 622 S. Washington St. Seattle, WA 98104 Tel: (206) 624-3925 Fax: (206) 624-3046 Website: www.iexaminer.org
Have the IE delivered to your doorstep $35 a year, $60 for two years—24 indepth issues a year! Go to www.iexaminer. org and click on the “Subscribe” button or mail a check to: 622 S. Washington St., Seattle, WA 98104.
INTERNATIONAL EXAMINER
January 15, 2014 – February 14, 2014 — 3
ANNOUNCEMENT
New Seattle employment law limits use of criminal history On November 1, 2013 a new employment law went into effect in the City of Seattle. The Seattle Job Assistance Ordinance (JAO) limits how employers can use criminal records for hiring and employment decisions for employees working within Seattle city limits. Why did Seattle pass this law?
Seattle passed the Job Assistance Ordinance to reduce crime and strengthen communities. More than 25% of all adults in the U.S. have criminal records, including Asian Pacific Islanders. Refusing to hire people just because they have a criminal record has a huge impact on families and small businesses in the API community. The new law helps both employers and job applicants. For employers, it increases the number of qualified job applicants. For applicants, it provides a fair chance at finding a job. Employers can still ask about an applicant’s criminal background, but only after an initial screening. Applicants have the opportunity to explain or correct information that an employer may have received about their criminal history. What does the law do?
The Job Assistance Ordinance contains several important provisions. The law: Bars language in job ads that excludes applicants with criminal history. Statements in ads like “No criminal history” or “No felons” are against the law. Prevents employers from asking questions about applicants’ criminal history until after an initial screening to eliminate unqualified applicants. Once applicants have passed an initial screening, then an employer can ask questions about criminal history and conduct background checks. This process allows all applicants to have a fair chance to be considered for the job.
Allows applicants to explain or correct criminal history information. If an employer decides not to hire someone based on their past criminal history, the employer must hold the job open for two days and give the applicant a chance to explain or correct the record. Giving someone a chance to correct the record is very important because background checks sometimes contain incorrect information. Prohibits employers from denying a job based solely on a person’s arrest record.
Requires employers to have a “legitimate business reason” for denying a job based solely on an applicant’s criminal history. For
example, an employer can deny someone a job if the type of conviction would hurt the person’s ability to perform the job, or if the person might harm other people or property. Employers must consider the following factors to determine a legitimate business reason: • The seriousness of the conviction.
• The number and types of convictions. • The time passed since the conviction.
• Information related to the individual’s rehabilitation or good conduct.
• The duties and responsibilities of the job. • Where and how the job will be performed. Who does this law apply to?
The Seattle Job Assistance Ordinance applies to Seattle businesses with one or more employees. The law also applies to businesses located outside Seattle with employees who work within the city limits. The law does not apply to the U.S. government, the State of Washington or other local governments. The City of Seattle must comply with the law. Exceptions to this law
The law does not apply to jobs with:
Unsupervised access to children under 16, people with developmental disabilities or vulnerable adults.
Law enforcement, policing, crime prevention, security, criminal justice, or private investigation services Support for employers and employees
The Seattle Office for Civil Rights (SOCR) offers free technical assistance and training to employers to support compliance with the law. SOCR Business Liaison, Karina Bull, explains, “Our goal is to increase compliance with the law. We encourage employers to call us with their questions and personally respond to every inquiry.” SOCR also investigates allegations of noncompliance. When employees believe that the law has been violated, they can file a charge with SOCR within 180 days of the date of the alleged incident.
For more information, call 206-684-4500, email OCR_criminalrecordsquestions@seattle.gov or visit http://www.seattle.gov/civilrights/criminalrecords.htm. SOCR’s services are free and impartial. Language and disability accommodations are available upon request.
The International Examiner website is now updated daily. Visit iexaminer.org every day!
4 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
IE NEWS
U.S. deported approximately 369,000 immigrants in 2013 Anthony Advincula New America Media The U.S. government deported about 369,000 immigrants, including a number of Filipinos, during fiscal year 2013, according to new statistics from the Immigration and Customs Enforcement (ICE) released last month, showing a 10 percent drop from the previous year—the first since President Barack Obama took office in 2008. Nearly 60 percent (216,810) of the total deported immigrants, the year-end report showed, had been previously convicted of a crime. Of this number, ICE apprehended and deported 110,115 individuals with a crime conviction from within the country and another 106,695 at the border while attempting to unlawfully enter or re-enter the United States. ICE officials described these figures as “meeting one or more immigration enforcement priorities” that the Obama administration announced two years ago, stating that his administration would no longer devote federal resources to deporting immigrants with “low priority cases,” including those without a criminal record and not a threat to national security. “The 2013 numbers make clear that we are enforcing our nation’s laws in a smart and effective way, meeting our enforcement priorities by focusing on convicted criminals while also continuing to secure our nation’s borders,” John Sandweg, ICE acting director, said in a news release.
But the new removal figures provoked Filipino-American groups and other advocates for immigrant rights, saying that the numbers are misleading and that they don’t add up on Obama’s promise to stop unnecessary deportations, while Congress remains deadlocked on comprehensive immigration reform that will give millions of undocumented immigrants a path to legalization. While it is true that the Obama administration deported criminals, advocates say, the report also revealed that it ousted 151,834 individuals without a criminal conviction. Most of these immigrants only had immigration violations such as overstaying their visas, which is considered to be a civil offense, and those who are ignoring deportation orders. “The government would claim that they have achieved its enforcement goal, and that they only look for criminals. That’s all rhetoric,” said Emelyn Tapaoan, a Filipino-American adjunct professor who teaches race and ethnic studies at City University of New York’s (CUNY) Manhattan College. “If you’re undocumented, even with no criminal record, you have no immunity to deportation. That’s the truth.” Pablo Alvarado, executive director of National Day Laborer Organizing Network, also looked at the deportation numbers with skepticism. “It’s easy for the [Obama] administration to say that those deported fit their priorities when the White House has practically made sneezing a criminal act for immigrants,” Alvarado said. “These numbers may represent political calculus
for the beltway but, for immigrant families, they represent our parents, siblings and loved ones.” To date, the total number of deportations has reached to more than 1.9 million since President Obama was first elected in 2008, the highest record by far for any U.S president. Top 10 countries of removal
With 241,493 Mexicans deported from the United States in 2013, Mexico continued to be the leading country of origin for those who were removed, followed by other Latin American countries such Guatemala (47,769), Honduras (37,049), El Salvador (21,602), and the Dominican Republic (2,462). The other countries in the Top 10 include Ecuador (1,616), Brazil (1,500), Colombia (1,429), Nicaragua (1,383), and Jamaica (1,119). While the Philippines was not part of the list— and the year-end ICE report did not mention its ranking—the population of undocumented Filipinos (270,000) in the United States remains the second highest, slightly lower than Chinese (280,000), among the Asian groups. Asian immigrants make up 11 percent of the 11 million undocumented immigrants in the United States, living and working in the shadows. According to the latest data from the U.S. Department of Homeland Security, about 4 million people born in the Philippines now live in the United States, and that 1 of every 6 Filipino immigrants in the United States is undocumented, mostly in key cities such as
Los Angeles, San Francisco, New York, and Chicago. “Usually, what we have seen in recent years, a number of Filipinos face deportation because they have criminal convictions,” said Joemar Miane, a Filipino-American immigration lawyer based in New York City. “Most of their cases involve domestic violence and DWI (driving while intoxicated). He also said that some undocumented Filipinos, although they did not commit a crime, ran into immigration authorities, say, getting randomly inspected at an airport or on the train during their travel. In turn, they get arrested and deported. In other cases, he says, there are Filipinos who have no criminal record, but who overstayed their visas. After filing a green card application, they also end up under removal proceedings. “Their application would alert enforcement officers,” Miane added, “and soon they will receive a notice to appear, known as NTA, before an immigration judge.” NTA is the first step to removal proceedings. Miane said that, to avoid deportation, Filipinos and any other immigrants—both undocumented and green card holders—must not commit a crime, even if it may appear to be minor. “Ninety-nine percent of those who got caught driving while drunk, especially with no proper documentation, may get a deportation order,” Miane said. “It just pays to be a law-abiding person.”
Sunday, January 26 • Seattle Store - 1:00 pm • Bellevue Store - 1:30 pm • Renton Store - 2:30 pm Saturday, February 1: Beaverton Store • YoYos & Folk Dance - 1:30 pm • Lion Dance - 2:25 pm • Sunflower Dancing Troupe - 3:00 pm
INTERNATIONAL EXAMINER
Welcome to the 2014 Seattle Asian American Film Festival! It is with great pride and excitement that we welcome you to the 2014 Seattle Asian American Film Festival! After the huge success of last year’s inaugural event, we knew demand and expectations for this year’s festival would be high. So we doubled down and moved the extended four-day event to Columbia City’s Ark Lodge Cinemas, where we’ll be showing 28 films over four days on two screens!
This year’s selected films comprise the very best of Asian American independent media, and they are as rich and exciting as ever. Award-winning documentaries like Linsanity, which chronicles the life of NBA star Jeremy Lin, and American Revolutionary: The Evolution of Grace Lee Boggs, which shares the story of a great civil rights pioneer, show us the depth and diversity of the Asian American experience. Homegrown films such as Raskal Love, R/Evolve, and One Generation’s Time: The Legacy of Silme Domingo & Gene Viernes remind us of the importance of Seattle’s emerging film community in discovering and telling great stories from our own backyard. The SAAFF team would like to extend a huge THANK YOU to all of the volunteers, filmmakers, sponsors, co-presenters, and partners who are making the second annual festival possible. We also want to thank all of our audience members for coming out to the festival, and to other screenings and parties we have hosted throughout the year. You are the sole reason for this labor of love. Your participation in the festival is why it’s not only back on the map, but flourishing and quickly becoming a mainstay in Seattle’s Asian American community. See you at the movies!
Vanessa Au and Kevin Bang, SAAFF Co-Directors
Linsanity at Ark Lodge Cinemas Screen 1 at 6:30 p.m. Co-presented by: NAAAP-Seattle, Wing Luke Museum, and Seattle Asian Sports Club. Comcast Opening Night Party at Columbia City Theater at 9:00 p.m.
February 7 The Playback Singer at Ark Lodge Cinemas Screen 2 at 6:00 p.m. Co-presented by: Tasveer. Someone I Used to Know at Ark Lodge Cinemas Screen 1 at 6:00 p.m. LGBTQ Showcase at Ark Lodge Cinemas Screen 2 at 8:30 p.m. Co-presented by: API Chaya Queer Network Program, and Three Dollar Bill Cinema. In this program: R/Evolve, Kimchi Fried Dumplings, House for Sale
February 8 War Doc Shorts (Free) at Ark Lodge Cinemas Screen 1 at 11:00 a.m. Co-presented by: The Japanese Cultural and Community Center of Washington and JACL Seattle. In this program: Speaking Out!, Memory of Forgotten War, Honor & Sacrifice Raskal Love and One Voice/One Drum at Ark Lodge Cinemas Screen 1 at 1:00 p.m. Co-presented by: 206 Zulu and WAPI Community Services. Contemporary Shorts (Free) at Ark Lodge Cinemas Screen 1 at 3:30 p.m. Co-presented by: Northwest Immigrant Rights Project. In this program: Why We Rise, More Than a Face in the Crowd, Keni, In Between My Handmade Moments
A Step-by-Step Guide to Attending SAAFF 2014 1. Check out the festival schedule, film descriptions, and trailers at http://bit.ly/SAAFF2014. 2. Click the blue “Buy Tickets” button to purchase. (Do not delete the confirmation email. You’ll need it to retrieve your tickets later). 3. Print your tickets. 4. Arrive at the Ark Lodge Cinemas at least 30 minutes before show time. 5. Visit the Hilliard’s Beer Reception Room upstairs to get a beer, take a photo with friends, get some merchandise, and check our community resource table. 6. Grab some snacks and show your print-at-home tickets when you’re ready to head into the theater. 7. Relax and enjoy the movie.
SAAFF Frequently Asked Questions Q: How do I get tickets? A: 1. Online at http://bit.ly/SAAFF2014. (Print your tickets at home and bring them with you.)
2. Buy a full-festival pass online at http://bit.ly/ SAAFFpass. This pass gives you priority access to all films. 3. In person, during festival hours at guest services in the Hilliard’s Beer Reception Room, at least 30 minutes before the screening starts. Tickets are not guaranteed to be available, so we recommend buying advance tickets online.
Q: How much are tickets? A: With the exception of opening night, screenings cost $11. Students and seniors with ID pay $8. A full-festival pass is $75.
Festival at a Glance February 6
January 15, 2014 – February 4, 2014 — 5
American Revolutionary: The Evolution of Grace Lee Boggs at Ark Lodge Cinemas Screen 1 at 5:30 p.m. Co-presented by: Harry Bridges Center for Labor Studies, University of Washington, and University of Washington Ethnic Studies Student Association (ESSA). Sunset Stories at Ark Lodge Cinemas Screen 1 at 8:00 p.m. Co-presented by: Mixed Match and UW Lambda Phi Epsilon. VIP Party at Columbia City Gallery at 9:00 p.m.
February 9 Narrative and Animated Shorts (Free) at Ark Lodge Cinemas Screen 1 at 12:00 p.m. In this program: Yellow Sticky Notes, Canadian Anijam, My Name is Asiroh, At Your Convenience, …or Die The Haumana and The Happiest Person In America at Ark Lodge Cinemas Screen 2 at 2:00 p.m. In this program: The Haumana, The Happiest Person In America One Generation’s Time: The Legacy of Silme Domingo & Gene Viernes and To Manong Carlos at Ark Lodge Cinemas Screen 1 at 2:00 p.m. Copresented by: OCA Seattle, Anak Bayan, and Pinay Sa Seattle. Seeking Asian Female at Ark Lodge Cinemas Screen 1 at 5:00 p.m. Co-presented by: API Chaya and National Asian Pacific Women’s Forum (NAPAWF). Innocent Blood at Ark Lodge Cinemas Screen 1 at 7:30 p.m. Co-presented by: Kollaboration Seattle.
Tickets for our Opening Night Feature, Linsanity, and the Comcast Opening Night Party on February 6 are $13 for general admission. Students and seniors pay $10. For more information about opening night, go to http://bit.ly/SAAFFopening. There will also be three FREE screenings:
● February 8 (11:00 a.m.): War Doc Shorts ● February 8: (3:30 p.m.) Contemporary Shorts ● February 9: (12:00 p.m.) Narrative and Animated Shorts
Q: What if the screening I want to attend is sold out? A: If advance tickets are no longer available, a limited number of rush tickets will be released at guest services in the Hilliard’s Beer Reception Room 20 minutes before showtime. Q: Are the films in English? A: All films are in English. There will be subtitles for non-English segments in the films.
Q: How do I interact with SAAFF and filmmakers? A: We will have panel discussions and Q&As with filmmakers after most screenings. At the Comcast Opening Night Party, the audience can meet the filmmakers and the SAAFF team.
Q. Can I go to the Comcast Opening Night Party if I can’t make it to the opening feature, Linsanity? A: Yes! If you can’t make it to Linsanity but want to attend the party, head straight to the Columbia City Theater at 9:00 p.m. and get in with a $5 cover charge at the door. If you did attend Linsanity, be sure to have your ticket stub ready or hand stamped at guest services to get in to the party. You must be 21+ to attend the opening night party. Q: How do I get to the Ark Lodge Cinemas? A: Ark Lodge Cinemas is located in Columbia City Neighborhood on Rainier Avenue South between South Edmunds Street and South Angeline Street. It is accessible by bus routes 7, 8, and 9 and Sound Transit Light Rail (get off at the Columbia Station).
Driving Directions: ● From the north, take I-5 South to exit 163A toward Columbian Way. Turn right onto Rainier Avenue South and it’ll be on the left.
● From the south, can take I-5 North to exit 157 onto MLK Jr. Way. Turn right onto Edmunds Street Then turn right onto Rainier Avenue South and it’ll be on the right. ● From the east, take I-90 west to exit 3A to Rainier Avenue South. In three miles, Ark Lodge Cinemas will be on the left. There is no theater parking lot, but street parking is available.
Q: Is the Ark Lodge Cinemas ADA (Americans with Disabilities Act) accessible? A: The Ark Lodge Cinemas is housed in an historic building built in 1920. There are no elevators to Theater 1 (upstairs) but films screening in Theater 2 (downstairs) are ADA accessible.
Q: Are there discounts at neighboring businesses for festival attendees? A: Yes, see us at guest services in the reception room for a list of businesses offering discounts, including Uber discount codes. Q: Aside from films, what else is going on at SAAFF? A: We’ll have the Hilliard’s Beer Reception Room (upstairs by Theater 1) open for the duration of the festival, where you’ll find: ● Guest services
● Merchandise sales ● Hilliard’s beer ● Photo area
● Puget Sound Blood Center bone marrow drive ● Community resource table with info about Seattle-area Asian American organizations
● VIP lounge for those holding a sponsor, industry, media, staff or volunteer badge
Q: Is there food available at the theater? A: Concessions and Hilliard’s beer will be available. Several restaurants are also within walking distance of the theater. Q: How can I reach you? A: Talk to us on social media: ● Facebook.com/seattleaaff
● Twitter.com/seattleaaff (hashtag #SAAFF2014) ● YouTube/seattleaaff
Email questions to info@seattleaaff.org, message us on Facebook, or @reply us on Twitter. Also, visit us at guest services in the Hilliard’s Beer Reception Room during festival hours.
6 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
SEATTLEASIANAMERICANFILMFESTIVAL
Return of the Seattle Asian American Film Festival By Mae Jacobson IE Contributor
was to just have a festival. You don’t know how many people are going to come. We had no money. It was pretty much my credit card and her credit card. But we cared for it. We cared for having a film festival that showed Asian American films.”
It might have been fate that brought Seattle Asian American Film Festival (SAAFF) codirectors Vanessa Au and Kevin Bang together on the same path. But a closer look at the history of showcasing Asian American cinema in Seattle reveals that they were just taking the initiative to bring back something that was very real for the Asian Pacific Islander (API) community—a screen to tell API stories using API faces and API voices.
The first step in the year-long process of establishing the event was finding a venue. The co-directors settled on a theater located in the Wing Luke Museum of the Asian Pacific American Experience. Due to SAAFF’s popularity last year, Bang and Au decided to move the 2014 festival to Columbia City’s Ark Lodge Cinemas, a larger space with two screens and more seating, where 28 of the 100 film submissions will be shown.
The origins of SAAFF began when both Au and Bang realized the community’s previous Asian American film festival, the Northwest Asian American Film Festival (NWAAFF) had come and gone and was not coming back. Started in 2002 by Wes Kim, the NWAAFF ran for five years, concluding in 2007. Another six years had passed before Au and Bang decided to revive the festival.
Bang, currently an interactive producer at T-Mobile USA, described his passion for the last iteration of the film festival, NWAAFF: “I was an undergrad at UW at the time, and I would go to NWAAFF all the time. I was a big fan of what they were offering, showing films that had prominent roles for Asian Americans, because you don’t see it that often. I felt it was important to have a weekend where you could see well-done movies like that.” Au echoed this sentiment, describing her graduate research on Asian American representation in pop culture as a motivating factor for her to support the availability of
The films and filmmakers hail from all over the country. Sourcing these filmmakers was the second step Bang and Au took when organizing last year’s festival.
SAAFF co-directors Vanessa Au and Kevin Bang. • Photo by Tin Minh Chau, TNK Photography
Asian American cinema. Au is an adjunct lecturer at the University of Washington and Conference Content Manager at Tableau Software.
“It’s nice to see how we represent ourselves in independent media,” Au said. “I wanted to be able to showcase that, because we don’t show up in mainstream media that often.” When NWAAFF ended in 2007, Bang waited and watched, hoping that it would reappear. Years passed and Bang saw nothing.
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Bang and Au received 120 submissions for the 2013 festival by reaching out to film schools across the country—25 were selected to be screened.
“I got frustrated,” Bang said. “What happened The films shown at SAAFF belong to a to this film festival? If no one’s doing anything myriad of genres. about it and I want it back in Seattle I should “We have a variety of films,” Au said of this probably take it upon myself to organize.” year’s festival. “We have a mix of documentaries Au, a graduate student at the time, was also with some feature length narratives, collections wondering where NWAAFF had gone. A past of shorts. We try to represent different ethnicities volunteer for the San Francisco International and intersectional identities.” Asian American Film Festival, Au found that In addition to documentaries and shorts, Asian American film festivals fill a gap left there are romantic comedies, crime thrillers, behind by other local cinema events. and a number of what Bang describes simply as Although the Seattle International Film “fun movies.” Festival (SIFF) features Asian films, the focus is Bang and Au both described SAAFF as a on international Asian work, Au said. Hoping to significant representation of an underrepresented promote Asian American films and filmmakers, people. Au contacted NWAAFF’s former director, Wes “When I watched TV growing up, the Asian Kim. guy is always the nerdy dude, or the guy who “Seattle went for years without any Asian can’t speak English, or he’s just weird,” Bang American film festivals,” Au said. “I knew Wes said. “When you see that kind of image, it Kim, so I told him I was interested in picking affects how you perceive yourself. What the it up.” community gets when they go to our film festival Bang, too, decided to call Kim, in order to get is for four days you can actually watch movies some information on how to start a new festival. that are good, that show a fair representation of It was through Kim that Bang met Au. Asian American folks.” “We both talked to Wes and he introduced us and we just picked it up, and started over essentially,” Au said.
Au described her motivation to start the festival in a similar tone.
“It’s nice to have this arena where we can actually see ourselves on the big screen, and tell our stories,” Au said. “It’s affirming. We’re usually marginalized or stereotyped or pigeonholed into these roles that are based on how “We didn’t know what to expect,” Au said. white people see us, not how we see ourselves. “We had pretty low expectations. If anybody It’s nice to have our own stories told by our own showed up to watch any of our films, we would directors and actors.” be pretty happy,” said Au. Bang and Au have a little more money due At their delight and surprise, most of the to SAAFF’s success in 2013, and a lot more sessions of the festival sold out. The 70-seat knowledge on how to effectively organize and Wing Luke theater was packed. Waiting lists for run the festival. They are working on reaching tickets were written and, unfortunately, some out to youth volunteers, establishing a name for themselves and running the operations of the eager moviegoers were turned away. festival more efficiently “There was a need for the festival and people “I hope that more people find out about were looking for it,” Au said. “When it came [SAAFF] and come,” Au said. “I want to back, people came back.” maintain the quality of what we have now.” Au and Bang were able to make SAAFF Bang, too, hopes for more attendees: “I a success through careful planning and a conscious dedication to the cause, Bang want people to know the name, and what SAAFF brings to the city. Our city has a explained. significant Asian American population. When “We both had the same agenda and the same you have a population that big, you should plan to throw a basic, simple film festival,” Bang have a festival to celebrate those faces. I want said. “The goal wasn’t to make money. The goal it to be stable.” Au and Bang began the planning process in 2012 and SAAFF premiered one year later, on January 25, at the Wing Luke Museum in Seattle’s International District.
INTERNATIONAL EXAMINER
January 15, 2014 – February 4, 2014 — 7
SAAFF PROGRAM GUIDE SEATTLEASIANAMERICANFILMFESTIVAL Carl comes home for Christmas to introduce his new boyfriend, but finds his younger brother, who is also gay, resentful for being left to care for their aging parents. Tensions come to a breaking point, but once emotions are out in the open, the family can begin to heal.
February 6 at 6:30 p.m. at Ark Lodge Cinemas Screen 1
Linsanity, behind the headlines LINSANITY (89 minutes)—February 6 at 6:30 p.m. at Ark Lodge Cinemas Screen 1:
In 2012, the entire media landscape was abuzz about one man, basketball sensation Jeremy Lin. From gracing the covers of Time Magazine and Sports Illustrated to being satirized by Saturday Night Live, Lin captured the imagination, both here and abroad, like no single Asian American since Bruce Lee. In Linsanity, director and Bay Area native Evan Jackson Leong goes beyond the headlines to uncover the real story behind this cultural phenomenon. Co-presented by: NAAAP Seattle, Wing Luke Museum, and Seattle Asian Sports Club
Did you know ... Linsanity is narrated by Daniel Dae Kim, most recognizable for his roles on Lost and Hawaii Five-O ?
NBA superstar Jeremy Lin
finds his existence disrupted—and his marriage upended—when his prickly, Indian, secondrate playback singer father-in-law visits and overstays his welcome. A family drama spiked with comedy, The Playback Singer gets to the heart of relationships and of the challenges of finding our place in this world. Co-presented by: Tasveer
Actress Navi Rawat
February 7 at 6:00 p.m. at Ark Lodge Cinemas Screen 1
The Playback Singer tells the story of an aimless, would-be, jungle-gym architect who
SAAFF Sponsors R/EVOLVE (85 mins)—February 7 at 8:30 p.m. at Ark Lodge Cinemas Screen 2: Lucas and Lincoln just got engaged. Lucas thinks they’ll have it all once marriage equality becomes law, but Lincoln isn’t satisfied. When he encounters a radical queer hitchhiker, his inner artist is awakened, but his hasty actions soon jeopardize the life he has built and the campaign for equality.
Please note: The Comcast Opening Night SOMEONE I USED TO KNOW (81 mins)— Party is for those 21+ with ID only. February 7 at 6:00 p.m. at Ark Lodge Cinemas Screen 1:
THE PLAYBACK SINGER (91 mins)— February 7 at 6:00 p.m. at Ark Lodge Cinemas Screen 2:
War doc shorts (free!)
SAAFF DIRECTORY: Continued on page 8. . .
If you can’t make it to Linsanity but want to attend the party, head straight to Columbia City Theater at 9:00 p.m. and get in with a $5 cover charge.
Seattle premiere of The Playback Singer
February 8 at 11:00 a.m. at Ark Lodge Cinemas Screen 1
Co-presented by: The Japanese Cultural and Community Center of Washington and JACL Seattle
Your ticket price includes admission to the party, where there will be a cash bar, food from Phnom Penh Noodle House and Thai Curry Simple, performances by Kollaboration Seattle talent, and a live DJ (DJ Ratticus).
February 7 at 6:00 p.m. at Ark Lodge Cinemas Screen 2
A stranger shows up at a suburban house that is up for sale. As the owner’s wife gives him a tour of the place, he recalls a memorable night when a fatal promise was made.
Co-presented by: API Chaya Queer NetThree short documentaries dealing with work Program and Three Dollar Bill Cinema war, upheaval, separation and family.
Comcast Opening Night Party Following the screening of Linsanity, head out the doors of the Ark Lodge and turn left. Walk a block and a half down the street just past S. Ferdinand St. to Columbia City Theater (4916 Rainier Ave S, Seattle, Washington 98118) for our big opening night party!
LGBTQ showcase featuring R/Evolve An LGBTQ showcase with two short films leading up to feature, R/Evolve.
February 6 at 9:00 p.m. at Columbia City Theater
The Comcast Opening Night Party happens down the street on February 6 at 9:00 p.m.
February 7 at 8:30 p.m. at Ark Lodge Cinemas Screen 2
HOUSE FOR SALE (17 mins)—February 7 at 8:30 p.m. at Ark Lodge Cinemas Screen 2:
When three childhood friends reunite on one midsummer night, their delirious abandon and reminiscence become a daring search for hope and deliverance. These lost souls gather in a house atop the Hollywood hills, sequestered by their reluctance and fear to face their own reality.
SAAFF Factoid: Maximillian Davis of R/Evolve made his feature film debut in Heart Breaks Open (2011), also directed by Billie Rain and Basil Shadid
Did you know ... Eddie Mui from Someone I Used to Know attended Cleveland High in 9th and 10th grade and West Seattle High in 11th and 12th grade?
KIMCHI FRIED DUMPLINGS (14 mins)— February 7 at 8:30 p.m. at Ark Lodge Cinemas Screen 2:
PREMIERE Comcast Hilliard’s Beer MAJOR Hotel Nexus University of Washington— Department of Communication SUPPORTING Seattle Country Day School Shabu Chic TD Wang Uber COMMUNITY Asian Adult Adoptees of Washington Columbia City Gallery Eltana Bagel Fuji Bakery Geraldine’s Counter JACL Seattle Kona Kitchen Lottie’s Lounge Phnom Penh POL Productions LLC Rainier Valley Orthodontics Thai Curry Simple
8 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
SAAFF PROGRAM GUIDE SEATTLEASIANAMERICANFILMFESTIVAL . . . SAAFF DIRECTORY: Continued from page 7
RASKAL LOVE (85 mins)—February 8 at 1:00 p.m. at Ark Lodge Cinemas Screen 1:
SPEAKING OUT! (7 mins)—February 8 at Vanna Fut aka Lazy overcomes great 11:00 a.m. at Ark Lodge Cinemas Screen 1: adversities to pursue dreams in the ArtsDrawn from the 157 testimonies before becoming a pioneering b-boy in the Seattle the Government’s Commission on Wartime Hip Hop scene during the 90s, to becoming an Relocation and Internment of Civilians in actor. This is the inspiring true story of a man Los Angeles in 1981, Speaking Out! captures who has the will to pursue his dreams against the emotion, the loss, the pain, the suffering, all odds. and the fortitude of Japanese Americans incarcerated in America’s concentration camps during World War II. Did you know ...
MORE THAN A FACE IN THE CROWD (23 mins)—February 8 at 3:30 p.m. at Ark Lodge Cinemas Screen 1: A filmmaker explores the life of her greataunt, Jane Chung, an actress who made a career for herself at a time when Asian Americans faced widespread racism in Hollywood. Working mostly in small parts, Jane’s fiftyyear career reflects the struggles and triumphs of Asian Americans working in Hollywood.
Raskal Love director Byron Q studied under renowned French New Wave filmmaker Jean Pierre Gorin at UC San Diego?
MEMORY OF FORGOTTEN WAR (38 mins)—February 8 at 11:00 a.m. at Ark Lodge Cinemas Screen 1:
A documentary about the Korean War directed and produced by Deann Borshay Liem and Ramsay Liem. Memory of Forgotten War follows the stories of four Korean Americans who witnessed firsthand the war’s devastation and its aftermath.
KENI (5 mins)—February 8 at 3:30 p.m. at Ark Lodge Cinemas Screen 1:
Through a candid interview, Keni Styles recalls his upbringing in children’s homes in South London. The orphan, turned boxer, turned soldier starts moonlighting in the swingers’ scene as a “Bull.” Keni recalls how a chance encounter with a swinger couple becomes an opportunity to break into the ONE VOICE/ONE DRUM (5 mins)— world of porn. Adult themes. February 8 at 1:00 p.m. at Ark Lodge Cinemas Screen 1: An audio/visual collaboration between acclaimed percussionist PC Munoz, rapper DEM ONE, and filmmaker Christopher Woon.
HONOR & SACRIFICE (28 mins)—February 8 at 11:00 a.m. at Ark Lodge Cinemas Screen 1: Honor & Sacrific tells the complex story of a Japanese immigrant family disrupted by WWII.
SAAFF Factoid: Four members of the SAAFF staff were UW graduate students who also worked together on the Asian American Studies Research Collective at the Simpson Center for the Humanities.
February 8 at 1:00 p.m. at Ark Lodge Cinemas Screen 1
Short experimental film and Raskal Love One short experimental film followed by documentary feature, Raskal Love.
Co-presented by: 206 Zulu and WAPI Community Services
Grace Lee Boggs
movements of the past century: radical labor, civil rights, Black Power, feminism, Asian American, environmental justice, and beyond. More than just a biography, the film will explore how this daughter of Chinese immigrants born in 1915 could evolve both as a revolutionary philosopher and a movement activist during a century rife with social and political upheaval.
Co-presented by: Harry Bridges Center for Labor Studies, University of Washington and University of Washington Ethnic Studies Student Association (ESSA).
Did you know ... Grace Lee, director of American Revolutionary: The Evolution of Grace Lee Boggs, met Boggs while making her film The Grace Lee Project ?
February 8 at 8:00 p.m. at Ark Lodge Cinemas Screen 1
February 8 at 3:30 p.m. at Ark Lodge Cinemas Screen 1
Four contemporary shorts (free!)
IN BETWEEN MY HANDMADE MOMENTS (5 mins)—February 8 at 3:30 p.m. at Ark Lodge Cinemas Screen 1:
A girl makes handmade cards to brighten people’s day, but her Asian dad disapproves Four short films dealing with such topics as because he thinks she should be doing something more with her life after college. representation, diaspora, and immigration. As her dad witnesses the impact her lovely, Warning: Adult themes. creative gestures have on strangers, he begins Co-presented by: Northwest Immigrant to see the meaning of her work. Rights Project
February 8 at 5:30 p.m. at Ark Lodge Cinemas Screen 1
A look at the life of Grace Lee Boggs AMERICAN REVOLUTIONARY: THE WHY WE RISE (13 mins)—February 8 at EVOLUTION OF GRACE LEE BOGGS 3:30 p.m. at Ark Lodge Cinemas Screen 1: (87 mins)—February 8 at 5:30 p.m. at Ark A documentary short about three brave, Lodge Cinemas Screen 1: young New Yorkers reveal what it’s like to A documentary about Detroit philosopher/ grow up without having legal immigration activist Grace Lee Boggs, 98, whose life and status. work has encompassed the major U.S. social
Actor Sung Kang
Past and present collide in Sunset Stories SUNSET STORIES (95 mins)—February 8 at 8:00 p.m. at Ark Lodge Cinemas Screen 1: May, a high-strung and overly meticulous nurse, must return to Los Angeles to retrieve bone marrow for a transplant. Soon after her trip begins, her world turns upside down when past and present collide and she runs smack into JP, the man she left behind five years ago.
Co-presented by: Mixed Match and UW Lambda Phi Epsilon
INTERNATIONAL EXAMINER
January 15, 2014 – February 4, 2014 — 9
SAAFF PROGRAM GUIDE SEATTLEASIANAMERICANFILMFESTIVAL THE HAPPIEST PERSON IN AMERICA (15 mins)—February 9 at 2:00 p.m. at Ark Lodge Cinemas Screen 2:
February 8 at 9:00 p.m. at Columbia City Gallery
Is there a mathematical formula for achieving happiness? The film explores this possibility, and one woman’s quest to learn from the one man who has perhaps mathematically “achieved” it.
VIP party for badge holders A special party at Columbia City Gallery on February 8 at 9:00 p.m. for holders of the following badge types: industry, sponsor, speaker, media, staff, and volunteer. There will be beer, wine, and light appetizers served as well as music by DJ Ratticus.
February 9 at 12:00 p.m. at Ark Lodge Cinemas Screen 1
Narrative, animated shorts (free!)
MY NAME IS ASIROH (5 mins)—February 9 at 12:00 p.m. at Ark Lodge Cinemas Screen 1: A girl named Asiroh is bullied in school about her unusual name and wants to change it. Her father tells her about their indigenous roots as descendants of the Champa Kingdom and his escape from the Khmer Rouge. The girl’s imagination brings the journey to life through her stuffed animals.
Five short quirky films, some of them animated. And they’re free to watch!
February 9 at 5:00 p.m. at Ark Lodge Cinemas Screen 1
THE HAUMANA (95 mins)—February 9 at 2:00 p.m. at Ark Lodge Cinemas Screen 2: Jonny Kealoha is the charismatic host of a struggling Waikiki Polynesian lū`au show. To everyone’s surprise, including his own, he is appointed as the successor to a high school boy’s hula class.
Films remember Filipino activists
SAAFF Factoid:
YELLOW STICKY NOTES (8 mins)— February 9 at 12:00 p.m. at Ark Lodge Cinemas Screen 1:
TO MANONG CARLOS (TO BROTHER CARLOS) (17 mins)—February 9 at 2:00 p.m. at Ark Lodge Cinemas Screen 1:
This video epistle dedicated to the late Fifteen of Canada’s most award-winning and celebrated independent animators have come writer and activist Carlos Bulosan explores together to create a collaborative animated Filipino American conditions over time. film using only 4x6 inch yellow sticky notes, a INSERT CREDIT (7 mins)—February 9 at black pen and animation meditation. 12:00 p.m. at Ark Lodge Cinemas Screen 1: Insert Credit is the story of David’s strained relationship with his father, his abrupt death, and David’s life suppressing that experience. Animated as a retro arcade game, it was created as a form of catharsis. It combines his love of videogames with a topic that is deeply personal and painful.
Did you know ... Actors Parvesh Cheena, Guru Singh, and Rizwan Manji of the narrative short ...Or Die also starred in the television series Outsourced?
SEEKING ASIAN FEMALE (84 mins)— February 9 at 5:00 p.m. at Ark Lodge Cinemas Screen 1
This strangely compelling love story follows Steven and Sandy--an aging white man One short experimental film followed with “yellow fever”--and the young Chinese by documentary feature, One Generation’s woman he finds online. Stereotypes unravel A trio of brown actors are excited to do a Time: The Legacy of Silme Domingo & Gene as they attempt to build a marriage and comic project with a leading internet video company, Viernes. complications arise when Debbie, the Chinese until they learn just what the video entails. It Co-presented by: OCA Seattle, Anak American filmmaker documenting their story looks at some choices actors of color have to gets pulled in too deep. Bayan, and Pinay Sa Seattle make in Hollywood to have a career. Co-presented by: API Chaya and National Asian Pacific Women’s Forum (NAPAWF) …OR DIE (15 mins)—February 9 at 12:00 p.m. at Ark Lodge Cinemas Screen 1:
At a neighborhood convenience store run by two best friends, everything is twisted. Starring Randall Park and Dwayne Perkins, this unusual sitcom (originally produced as a TV pilot) plays with stereotypes and more, all in front of remarkable CGI environments. Adult themes.
One Generation’s Time: The Legacy of Silme Domingo and Gene Viernes is narrated by George Quibuyen, aka Geo from the Seattle-based hip-hop duo Blue Scholars?
February 9 at 2:00 p.m. at Ark Lodge Cinemas Screen 1
Warning: Adult themes.
AT YOUR CONVENIENCE (22 mins)— February 9 at 12:00 p.m. at Ark Lodge Cinemas Screen 1:
Did you know ...
Following Debbie Lum’s feature documentary Seeking Asian Female, a six-part companion web series called They’re All So Beautiful was created to continue the conversation on “Yellow Fever.” February 9 at 7:30 p.m. at Ark Lodge Cinemas Screen 1
February 9 at 2:00 p.m. at Ark Lodge Cinemas Screen 2
ONE GENERATION’S TIME: THE LEGACY OF SILME DOMINGO & GENE VIERNES (59 mins)—February 9 at 2:00 p.m. at Ark Lodge Cinemas Screen 1:
The film examines the legacy and impact of the work and lives of Silme Domingo and Gene Viernes, two Filipino-American activists and fishing cannery union members who were murdered for their involvement in union reform and fighting for workers’ rights.
INNOCENT BLOOD (101 mins)—February 9 at 7:30 p.m. at Ark Lodge Cinemas Screen 1
James Park, a retired undercover detective in LA’s Koreatown, faces his worst nightmare when his young son Cody is kidnapped. Co-presented by: Kollaboration Seattle
10 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
SEATTLEASIANAMERICANFILMFESTIVAL
R/Evolve questions the price of marriage equality By Atia Musazay IE Contributor One highlight of the 2014 Seattle Asian American Film Festival is an LGBTQ showcase of three films on February 7. This is an especially timely category, following the legalization of same-sex marriage in Washington over a year ago and the recent inauguration of the first openly gay and married mayor in Seattle.
Two short films, Kimchi Fried Dumplings and House for Sale, explore the tensions and intricacies faced by LGBTQ couples. The feature film, R/Evolve, challenges the corporatization and mainstreaming that arose out of the gay marriage movement that took place prior to the passage of Referendum 74.
We love watching the film with people. Our goal with all work at Dual Power Productions is to create media that promotes critical thinking, personal development, and social change. We love the Q&As after screenings of R/Evolve. We’re fairly ego-less about this work, and enjoy the audience engagement that comes from watching a film that tackles part of a movement that’s sweeping our world right now.
Musazay: What are some of your thoughts on the messages the film sends about marriage equality and pink money? Davis: Purely from a creative standpoint, I’m really proud of the hard work that everyone put into this film. From the actors, to the lighting designers, and production assistants.
We worked really long hours and created a story that gets you to think. I feel we also created a fantastic sense of community. There Revolve are a lot of faces represented in this film that marriage equality. Throughout his first a situation is right, then open up Pandora’s box aren’t typically seen in movies. A lot of queer campaign for the presidency, and through and see what happens. Lincoln doesn’t do it in faces, and bands from the Seattle punk scene, much of his first term, he talks about how he is the most responsible manner, but I think his and the fringe art scene were shoved together “evolving” on the subject. In May 2013, when heart is in the right place. His journey through into this space with a more straight-laced Obama endorsed marriage equality, he said the film is really about finding his true voice ‘establishment’ community. I love that. It’s and standing up for what he believes in, even important to spice up the soup sometimes, you that he “evolved.” at the expense of the comfortable world that know? I want to see more films that crack open R/Evolve is a play on the idea of political the mold of what a romantic lead looks like, or he has created. There is a lot of honor in that. “I believe that most of these companies evolution. Author Tom Robbins says, “Our what a successful professional looks like. That, Musazay: I know the film has been for me, is what’s at the heart of this film. I don’t cared more about the ‘pink dollar’ than the greatest human adventure is the evolution of campaign for marriage equality,” Shadid said. consciousness. We are in this life to enlarge screened in many places. What has the care what your sexuality is or your race, or reception been like thus far? whatever, but the world is too diverse to have He said the gay community underwent a the soul, liberate the spirit, and light up the brain.” If we assume that’s true, and that Shadid: We’ve had mixed reactions to the only one vision of what anything looks like. process in which the mainstream parts of the LGBTQ community were pushed to the marriage equality is a product of the evolution film. On one level, people have loved watching LGBTQ Showcase featuring R/Evolve forefront “to make marriage equality more of consciousness, then why do we have to play R/Evolve. At the end of the day, it’s a comedy. Seattle Asian American Film Festival publicity games to achieve our goals? Why are Watching it in the theatre has brought good palatable across the state.” marginalized people left out of the campaign laughs and discussion. Others have hated Friday, February 7 at 8:30 p.m. Ark Lodge Cinemas Screen 2 Directed by Billie Rain, R/Evolve is the advertising? Why do conservative companies the film. We’ve had criticism from marriage second feature film created by the Seattle- want to court the LGBTQ community when it’s equality proponents who have said that our based duo. Characters Lincoln and Lucas— in the limelight, but contribute to campaigns critique of pink money is a distraction, or a two mainstream gay men of color who become and politicians who fight against LGBTQ small issue that doesn’t deserve attention. engaged—are played by Maximilian Davis and rights when the spotlight has turned away? We’ve also had criticisms from alternative Lowell Deo. Have we evolved? Or are we like a revolving communities who have said that we aren’t Lincoln leads a major account at an door, spinning in circles but always ending up representing these critiques in an articulateadvertising firm, where the CEO supports in the same place? enough manner. marriage equality in hopes of securing pink Our mixed reviews show us two things. First, Musazay: How would you describe the money for the large conservative company. the conversations that this film bring about are character Lincoln? Lincoln picks up a free-spirited hitchhiker important. We’re glad that this project will live (Lil’ Snoopy Fujikawa) and is introduced to Maximillian Davis: Lincoln’s cool. I’d have on as one marker of the struggle for marriage a world of art and activism that make him a drink with Lincoln, haha. Um, I think at the equality. Second, when you experiment with rethink the marriage equality campaign. start of the film he is a character that many creating a fiction film in six months, you don’t The following are parts of a conversation I of us can relate to. He has a great job, a great have time for intense revision and reflection. partner, and by all looks of it should be very had with Shadid and Davis: Would this film have been different had we happy with his success. taken more time with each of the filmmaking Atia Musazay: What is the title R/Evolve But what I love about this character that stages? Absolutely. Have the mix of reviews, in reference to? Basil [Shadid] wrote is that Lincoln starts the conversations, and the filmmaking Basil Shadid: If you watch pre-presidential to wonder what happens when you remove experiment been worth it? Heck yes. videos of Barack Obama, he publicly opposes “should” from the equation. If you don’t think R/Evolve came as a response to two trends during the campaign period as noticed by Basil Shadid, the film’s producer and scriptwriter. First was the push by conservative companies to target the gay community in advertising, in pursuit of “pink money,” the term used to describe the purchasing power of the gay community. These companies hopped aboard the wave of success driven by the gay marriage movement to build brand loyalty to their products and bolster advertising.
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INTERNATIONAL EXAMINER
January 15, 2014 – February 4, 2014 — 11
SEATTLEASIANAMERICANFILMFESTIVAL
From bangin’ to breakin’: Documentary takes it to the streets Fut: It’s the greatest arts from the streets really. Breakdancing was a “proud of yourself” moment and, thankfully, with the music freestyles along the sides. Together, it kept the activities colorful, from being blind to street education, with poetry, being creative, being one step ahead and prepared for tomorrow’s win or lose situations. I believe all forms of art creations put together is a masterpiece. Everyone wants to accomplish one at a time. So that definitely trades in for the street guns.
By Yayoi L. Winfrey IE Contributor While the harsh realities explored in Raskal Love may not be easy for some people to watch, the film holds a powerful message about why impoverished and disenfranchised youth join gangs. Screening at the Seattle Asian American Film Festival, Byron Q’s documentary points a spotlight at real life exgangbanger Vanna Fut aka “Lazy.” Initiated at just 11 years old, Fut was brought into the Tiny Raskal Gang (TRG’s) while living in Pomona, California. When his family moved to Seattle, he took up breakdancing and broke away from gang activities. Ironically, Fut went on to star in a cult movie about gangs, Bang Bang, also directed by Byron Q.
IE: While you were making this film, did you ever feel you were revealing too much personal information? Or, was it more important to get the message out? Fut: Yes, I was uncertain if it’ll bring some trouble and attention that can cause any problems out there. But due to a bad situation that I am steadily battling, it was important to have a memory waiting for me and not forget the good, the bad, and the ugly.
Below, both gentlemen discuss breaking, gangbanging, and moviemaking.
International Examiner: Byron, what motivated you to make Raskal Love?
Byron Q: I had met Vanna through a unique way, during the research for my first film Bang Bang. We met online. In the end, I brought Vanna onboard as an actor because I was looking for real gangsters to cast.
Through working with him, we developed a strong friendship and, as I got to know him, he began to tell me more about his life in the streets. Vanna is one of those rare characters that have the power to change your perception of life through his friendship. This is what motivated me to tell his story, in the hopes that I can share it with others, especially the young people of our generation who come from this background.
Raskal Love
Vanna Fut: Coming from the Killing Fields, we had a lack of adult advice with unexperienced street peace here. Living in a city with a crowd, waiting for the news to play on murders, was a reminder that we’re the ones in a project stadium to entertain our future judgers outside the jungle of our corner. Robbers, deaths, drug dealers, crack smokers, and police sirens, arresting drunks for every child to view as an example, day-to-day, by our homes.
I know having a gang member’s blood in my veins is a bad example for all of today’s generations, but when I was young it wasn’t IE: Did you already have experience with easy to find another route and I wasn’t even gang culture, or did you have to research a lot? looking. I started without the thought of Byron Q: I had known a couple of people who joining a gang, but standing with everything were in gangs when they were in high school, that related to the streets—skating, tagging, and I had known some drug dealers who told breakdancing, fighting. It was all fist first. me a lot of stories. But it was only after making IE: Did any cultural aspects influence you my first film that I began to understand gang in choosing to join a gang? culture through my experience working with Fut: Just our street Raskal brotherhood’s Thai VG, Vanna, and others who were involved with the film. These guys were the real deal. footsteps. Then, as we went to make this documentary, I IE: You’ve mentioned that a pivotal was taken into the heart of it all. moment in your life is when your mother IE: In your documentary you have passed away. What would she think about actors simulating certain real-life scenes your successes as a dancer and actor? juxtaposed alongside interviewees. How Fut: I wish my mother was still here on hard was it telling the story like that? earth like when she walked me to the first Byron Q: Many of Vanna’s photos were lost day of kindergarten class. She’s seen me put from his past when he became homeless. This together my Legos. was a challenge that we had to overcome, so Seems now like my mom is only getting we decided to use the reenactment scenes to letter notes in heaven of all my work that makes visually complement his story. her smile for the son she named. I remember
her taking me to all her friends’ homes and making me dance to Michael Jackson’s music and told me, if I was dancing to the beats like Byron Q: Through the process of making this in our country, I would be having a lot of this documentary, I was able to truly ice creams. understand gang culture and the problems My mother must be smiling proudly with faced by these young kids who join gangs and, ultimately, the problems our society has shied tears to see her son, dancing in the storms away from. I think to truly solve a problem, then to wait for it to pass away on a sad, rainy we first have to understand the problem, and day. Feeling like a dancing champ was a goal, I hope this documentary can offer a lead to survival to this age is a goal, making it in a begin that discussion of thinking about gangs few films was a dream. I’ve been honored and in a different way—how to empower these blessed with respects from people for the child gangs to uplift their community instead of she gave birth to. That’s my revenge after I lost her. killing each other in the streets. IE: What’s the most important lesson you came away with after making this film?
IE: What’s your advice to young people IE: Vanna Fut, how did being a Cambodian refugee factor into your joining who want to join gangs? a gang as a necessary survival mechanism?
Fut: I know there’s plenty of reasons behind their stories. I have met a few that have reminded me of my footsteps, and the only advice I can give is how ugly things can get to be if continued. I don’t want anyone to join gangs, world wars, or hate crimes. IE: How do activities like music and breaking keep kids out of gangs?
If you have watched the film, you’ll understand and there’s not yet an ending, of course. Me and my friend Byron Q was always kicking back and talking about life. I’m glad to have a friend that didn’t pull a pure gangster documentary-only type. We named it Raskal Love ‘cause overall that’s my life’s ID on top of every hat I have worn.
Raskal Love screens on Saturday, February 8 at 1:00 p.m. at Ark Lodge Cinemas Screen 1. For more information, visit Seattleaaff.org.
12 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
SEATTLEASIANAMERICANFILMFESTIVAL
Film, book carries Domingo and Viernes’ legacy to a new generation By Anna Carriveau IE Contributor
work well together, so he asked her to take up the challenge of putting together the documentary.
In 1981, Silme Domingo and Gene Viernes, two young Filipino American civil rights activists and labor union leaders, were assassinated outside of their union offices in Seattle, WA. Their deaths came at the hands of hired gunmen working for corrupt Local 37 president Tony Baruso and ruthless dictator (and, at the time, president of the Philippines) Ferdinand Marcos.
Chew and Gee started working together on the film in 2011, 30 years after the activists’ passing.
Viernes and Domingo, outspoken for reform of the Marcos regime and other social injustices against Filipinos, were best known for their efforts to expose and put a stop to discrimination against Asian American workers in the Alaska salmon canning industry.
“Ron asked me if I wanted to videotape the interviews, but also possibly entertain a documentary version of the story,” Gee said. “We sort of went in tandem at that point. He was gathering information for the book, and I was also gathering information for the documentary.”
Gee wrote, directed, photographed, and edited One Generation’s Time. Gee said that although she found the project challenging, she enjoyed the support of Chew (as producer) and Ed Echtle (as associate producer) and found the overall experience very rewarding.
One of the biggest challenges she faced was including all of the people involved in the story Activists Silme Domingo and Gene Viernes are remembered as icons in Seattle’s labor movement. • Courtesy Photo and in the labor movement, Gee said. Gee and Beyond all this, higher paying jobs were Chew worked closely with Domingo and Chew’s film compiles a moving collection of closed off to people of color, who were not only Viernes. He knew them well as friends and interviews from friends, family, and activists required to take on more tiresome and grueling as colleagues. Their efforts and impact on who were involved in the labor movement with work, but also required to work more often and the labor movement, and those around them, Viernes and Domingo. Between interviews, longer hours. In response to these injustices, became the inspiration for Chew’s book, viewers are also treated to rare footage from Domingo and Viernes eventually filed lawsuits Remembering Silme Domingo and Gene Domingo and Viernes’ era. against the canneries and formed the Alaska Viernes, and Chew and Shannon Gee’s film, The film also features a dynamic score Cannery Workers Association (ACWA) to One Generation’s Time: The Legacy of Silme The canneries also had segregated living by Stephen Thomas Cavit and a memorable direct the lawsuits. Domingo and Gene Viernes. quarters. People of color were forced to live in narration by George Quibuyen of the Blue Ron Chew was editor of the International decrepit, cold, and drafty bunkhouses, while Both the book and film document the Scholars. white workers were provided with new and Examiner in the late 1970s when it was struggles Viernes and Domingo faced while Gee said she hopes the film encourages published by the ACWA. During that time, combating discrimination in the Alaskan spacious dormitory-style housing. people to look deeper into the history of canneries. Readers and viewers learn about the Domingo and Viernes. It’s a complex story duo’s ability to organize, lead, and help those that has touched a lot of people and influenced around them. Those efforts helped people in the labor and justice movement in many ways, the labor movement to carry on the fight long she said. after their deaths. As far as what she found most inspiring about Chew said he hopes that his book and film Domingo and Viernes, Gee said that she is most encourages more people to not only follow impressed by, “how they’re real pioneers in their dreams, but also find their voice, get terms of taking on the injustices and trying to involved in their communities or a cause larger figure out how to do it in a smart way and in than themselves, and correct social injustices, an organized way. ... I am even more inspired especially for those who are voiceless in our that many of the people who fought those first society—just as Viernes and Domingo did for battles continued on. And they continue on their generation. today. They are still working for equal rights in “They were two people who believed the fishing industry and for the union.” passionately in certain things and fought to Domingo and Viernes were both only 29 realize their dreams and anyone can do that. when their lives were tragically taken from Heroes are not anything more than ordinary them, yet their hard work and dream to create people who devote their lives to fulfilling their social change and end discrimination in the dreams,” Chew said. workplace (primarily in the Alaskan canneries According to Chew, from the beginning, where they experienced inequalities firsthand) he wanted to organize Domingo and Viernes’ had taken foot and was heroically carried on by story into a book as well as a standalone their friends, family, and fellow labor members film. Chew had previously collaborated with after their deaths. filmmaker Shannon Gee for an exhibition at One Generation’s Time: The Legacy of Silme the Wing Luke Museum, If Tired Hands Could Talk: Stories of APA Garment Workers, and a Domingo & Gene Viernes screens at the Seattle video documentary entitled, Finding Home in Asian American Film Festival on Sunday, February Chinatown. Chew said he knew they would 9 at 2:00 p.m. Like their family before them, Viernes and Domingo worked in Alaskan canneries during the 1960s and 1970s. As minorities, they faced extreme discrimination. The Alaskan canneries had segregated mess halls where people of color were given only fish and rice to eat—white workers had a colorful spread of food to choose from, that included fruits, vegetables, and desserts.
YOUR OPINION COUNTS Please share your concerns, your solutions, and your voices. Send a letter to the editor to editor@iexaminer.org with the subject line “Letter to the Editor.”
INTERNATIONAL EXAMINER
January 15, 2014 – February 4, 2014 — 13
SEATTLEASIANAMERICANFILMFESTIVAL
Seattle’s Eddie Mui on APIs in Hollywood By Yayoi L. Winfrey IE Contributor
When a trio of former childhood chums gathers at the lavish Los Angeles digs of the one among them who found fortune and fame, outrageous things happen. For one long night, the three commiserate, contemplate, and ruminate over their pasts while joined by uninvited strangers.
Someone I Used to Know features Luke Chen (Brian Yen) as a hunky movie star whose relationship with his pregnant girlfriend is about to flatline. There’s also Charlie (West Liang, also the film’s screenwriter), a brainiac teacher struggling with depression; and, Danny Jung (Eddie Mui), an obnoxious womanizer masking a gnawing insecurity over his sexuality, fueled by the rejection of his wealthy father. Adding to the mix is a groupie (Emily Chang) lusting for Chen, her young sidekick (Kara Crane), and her BFF played by Rex Lee (of “Entourage”). Screening at this year’s Seattle Asian American Film Festival, Someone prominently highlights local boy Eddie Mui. Although his role is not as the character that went to Hollywood and made good, Mui can claim that achievement on a more personal level. Born in Hong Kong and raised in Seattle, Mui has made a name for himself acting onstage, on TV, and on the silver screen. He’s also a credited producer.
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Actor Eddie Mui was raised in Seattle, Washington. • Courtesy Photo
Mui shared with the International Examiner his experiences of acting and producing Mui: Well, being in L.A. for quite some Someone as well his take on Asians working time now, I have made a lot of friendships with in Hollywood: all sorts of creative artists, some of them also International Examiner: Which role was Asian, and I believe we all feel the same way harder for you—acting as Danny Jung, or about this. It’s still an ongoing fight to be more visible and given more opportunities to land producing the film? lead roles everyday in Hollywood. I would Mui: Taking on the role of Danny Jung like to think it’s getting better as this fight was a bit of a challenge since his life is much continues. But getting involved behind the more complex than mine, but those are the scenes, such as producing or directing, helps kind of roles I really love to do. Working as a lot. a professional actor for over 20 years now, IE: What did you do to prepare yourself I prefer to keep doing different things and playing characters that really make me grow for playing such a complex character like deeper as I get older and, hopefully, more Danny? mature. I would say being a producer is harder Mui: Whenever I take on any role, the first for me at this time since I’m still learning to thing I do is really try to be as naturally “myself” be better at it. in the beginning process of discovering the IE: Has Hollywood changed much since character. For example, as “Danny,” I would you first arrived? Do you feel more accepted come on set being myself as much as possible as “just an actor,” or are you still viewed as but really believing that I’m actually wearing Danny’s clothes and saying things that only an “Asian actor”? Danny would say, but of course using the lines Mui: Yes, Hollywood has changed a lot since I from the script as his voice to express feelings. first moved to L.A. from Seattle in the early ’90s. Even though this particular role of Danny Jung Back then, it was like, “Hey look, there’s an Asian is nothing like myself in real life, in many ways person on Melrose Place!” I don’t really think I can still relate to how scared and confused he that’s the case anymore with so many talented may feel without certain friends whom he can actors of many different races from various ethnic relate to from his childhood. I think a lot of us backgrounds working in Hollywood today. After were most honest as kids anyway. I know I was. all, if Hollywood truly wants to portray what our IE: In what ways do you feel this film is country really looks and feels like (today and tomorrow) when walking out your front door, breaking new ground in identifying “Asian then casting anything that takes place in some angst”? metropolitan city without any Asian Americans Mui: Good question. As one of the main being represented at all is completely a fantasy producers, I can honestly say we really set out world in my opinion. I mean, seriously, you go to try to make a good “American” film and not into any shopping mall in America and all you just an “Asian American” film. The intention see are Asian American families shopping! And of West Liang’s script was not to tell a story to answer your second question, … I am an actor where only Asian American actors could play who happens to be Asian, not just an “Asian these complex roles. In fact, besides one line actor.” I do believe there’s a difference. from the movie regarding dating a successful IE: How have you been able to carve out Asian man, there are no other references about an acting career when Asian Americans are any of the characters being Asian. We really wanted Someone I Used to Know to be the rarely given lead roles?
kind of movie that you were watching about “some friends” who got together during one crazy night in L.A., and not about specifically some “Asian friends” who did. This movie should appeal to anyone who ever wondered about their lost friendships from long ago, and perhaps how different they or you might be if you were to see them again for just one more night. I’m sure it’s something we all have thought about, right?
IE: What’s your advice to young Asian Americans interested in acting or producing? Mui: The best advice I can give to young actors or producers is “keep learning by doing.” The only way to be a better actor is to keep acting whenever you can whether it’s on stage, a student film, or just taking more acting classes. Also, it’s really true when they say, “It’s who you know,” in Hollywood. Actors should always be polite and professional as much as possible on set because if you’re good, and likable as well, people will want to work with you again. Trust me!
IE: What are some of your upcoming projects? Mui: My most recent project is another feature film called Unidentified, directed by Jason R. Miller and produced by Parry Shen and myself. This movie is a comedy-thriller shot entirely in found-footage style, and I personally came up with the original concept. It’s kind of like The Hangover meets The Blair Witch Project and unlike any other feature film produced by two Asian American actors. We had our world premiere screening at the 14th San Diego Asian Film Festival last November 8, and our official wide release date will be February 11 on iTunes, Amazon instant video, Hulu, and Xbox video. Someone I Used to Know screens on February 7 at 6:00 p.m. at Ark Lodge Cinemas Screen 1. For more information, visit seattleaaff.org.
14 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
IE COMMUNITY RESOURCE DIRECTORY Arts & Culture
Professional & Leadership Development
Asia Pacific Cultural Center 4851 So. Tacoma Way Tacoma, WA 98409 Ph: 253-383-3900 Fx: 253-292-1551 faalua@comcast.net www.asiapacificculturalcenter.org Bridging communities and generations through arts, culture, education and business.
1300 1st Ave, Seattle, WA 98101 Ph: 206-654-3209 Fx: 206-654-3135 SAM connects art to life through special exhibitions, educational programs and installations drawn from its collection of approximately 25,000 objects. Through its three sites, SAM presents global perspectives, making the arts a part of everyday life for people of all ages, interests, backgrounds and cultures.
Education 3327 Beacon Ave S. Seattle, WA 98144 ph: 206-725-9740 info@deniselouie.org www.deniselouie.org Multicultural preschool ages 3-5 years old. Now enrolling Private Pay full-day ($900/mo) and part-day classes ($500/mo) with locations at ID, Beacon Hill, and Rainier Beach. P.O. Box 16016 Seattle, WA 98116 info@vnsf.org www.vnsf.org VNSF enables underprivileged students in Viet Nam to achieve success and happiness through education. We are looking for volunteers and board members to join the team and make a difference in the lives of kids in Vietnam.
Housing & Neighborhood Planning HomeSight 5117 Rainier Ave S, Seattle, WA 98118 ph: 206-723-4355 fx: 206-760-4210 www.homesightwa.org HomeSight creates homeownership opportunities through real estate development, home buyer education and counseling, and lending.
601 S King St. Seattle, WA 98104 ph: 206-682-1668 website www.apicat.org
221 18th Ave S, Seattle, WA 98144 ph: 206-322-4550 fx: 206-329-3330 connie.devaney@gmail.com We provided affordable housing and support services to people over 62 years of age. Lunch is served 7 days per week to people over 60 years of age for a $3 donation. Seattle Chinatown/International District Preservation and Development Authority ph: 206-624-8929 fx: 206-467-6376 info@scidpda.org Housing, property management and community development.
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Address tobacco control and other health justice issues in the Asian American/Pacific Islander communities. Executive Development Institute 310 – 120th Ave NE. Suite A102 Bellevue, WA Ph. 425-467-9365 • Fax: 425-467-1244 Email: edi@ediorg.org • Website: www.ediorg.org EDI offers culturally relevant leadership development programs.
WE MAKE LEADERS Queen Anne Station, P.O. Box 19888, Seattle, WA 98109 info@naaapseattle.org, www.naaapseattle.org Fostering future leaders through education, networking and community services for Asian American professionals and entrepreneurs. Facebook: NAAAP-Seattle Twitter: twitter.com/naaapseattle
Senior Services
PO Box 14047, Seattle WA 98114 (206) 325.0325 (Helpline) info@apichaya.org www. apichaya.org API Chaya is dedicated to serving survivors of domestic violence, sexual violence and human trafficking in the Asian, South Asian and Pacific Islander communities. We offer multi-lingual services that are free and confidential.
Chinese Information and Service Center 611 S Lane St, Seattle, WA 98104 ph: 206-624-5633 fax: 206-624-5634 info@cisc-seattle.org www.cisc-seattle.org CISC helps Asian immigrants make the transition to a new life while keeping later generations on touch with their rich heritage.
Community Care Network of Kin On
815 S Weller St, Suite 212, Seattle, WA 98104 ph: 206-652-2330 fx: 206-652-2344 contact@kinon.org www.kinon.org Provides home care, home health, Alzheimer’s and caregiver support, community education and chronic care management. Coordinates medical supply delivery. Installs Personal emergency Response systems. Serves the Chinese/Asian community in King County.
Kin On Health Care Center
4416 S Brandon St, Seattle, WA 98118 ph: 206-721-3630 fx: 206-721-3626 contact@kinon.org www.kinon.org A 100-bed, Medicare and Medicaid certified, not-for-profit skilled nursing facility focused on meeting the long term care needs of the Chinese/Asian community members.
Legacy House
803 South Lane Street Seattle, WA 98104 ph: 206-292-5184 fx: 206-838-3057 info@legacyhouse.org www.scidpda.org/programs/legacyhouse.aspx Description of organization/services offered: Assisted Living, Adult Day Services, meal programs for low-income seniors. Medicaid accepted.
National Asian Pacific Center on Aging InterIm Community Development Association 310 Maynard Ave S, Seattle, WA 98104 ph: 206-624-1802 fx: 206-624-5859 info@interimicda.org www.interimicda.org Affordable housing development, multi-lingual low-income housing outreach, rental information, financial literacy, neighborhood planning and outreach for APAs, immigrants and refugees.
Social & Health Services
Senior Community Service Employment Program ph: 206-322-5272 fx: 206-322-5387 www.napca.org Part-time training program for low income Asian Pacific Islanders age 55+ in Seattle/ King & Pierce Counties.
1601 E Yesler Way, Seattle, WA 98122 ph: 206-323-7100 fx: 206-325-1502 www.nikkeiconcerns.org Rehabilitation & care center; assisted living community; senior activity program; continuing education.
Social & Health Services Asian Counseling & Referral Service
3639 Martin Luther King Jr. Way S, Seattle, WA 98144 ph: 206-695-7600 fx: 206-695-7606 events@acrs.org www.acrs.org ACRS offers multilingual, behavioral health and social services to Asian Pacific Americans and other lowincome people in King County.
International District Medical & Dental Clinic 720 8th Ave S, Suite 100, Seattle, WA 98104 ph: 206-788-3700 Holly Park Medical & Dental Clinic 3815 S Othello St, 2nd Floor, Seattle, WA 98118 ph: 206-788-3500 Bellevue Medical & Dental Clinic Coming in 2013! Shoreline Medical & Dental Clinic Coming in 2014! We are a nonprofit health center offering affordable health care services, including primary care, dental, behavioral health, pharmacy, laboratory, acupuncture, and health education.
Seattle Rotary Club Bill Nagel Meets Every Thursday 11:30 a.m. to 1:00 p.m. New Hong Kong Restaurant Bill.nagel@gmail.com http://www.seattleidrotary.org/ Improve the local community by engaging activities such as community improvement projects, scholarship opportunities, and undertakings that promote education.
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INTERNATIONAL EXAMINER
January 15, 2014 – February 4, 2014 — 15
SEATTLEASIANAMERICANFILMFESTIVAL
In times of injustice, the story of Grace Lee Boggs inspires By Amy Huang IE Contributor At 98 years old, Grace Lee Boggs continues to dedicate her life tirelessly and relentlessly in U.S. social and political movements that have inspired a diverse pool of radical activists. Known for her leftist politics and collaborative work with Black Marxist C.L.R. James, Boggs has become a revolutionary speaker and writer—garnering attention across generations and uniting the hearts of grass-root organizers, scholars, and activists. Born into a Chinese family in 1915, Boggs received her B.A. from Barnard College in 1935 and eventually her Ph.D. in Philosophy from Bryn Mawr College in 1940. Her academic feat proved her resilient character during a time when women of color had the rare opportunity to pursue higher education.
“She went to college, which was not the norm for Chinese American women at the time,” said Moon Ho Jung, a professor in the University of Washington’s Department of History. “She later worked with C.L.R. James, who was one of the leading figures among Black Marxist thinkers across the world and she really helped him think about Marxism [in a way] that many white Marxists weren’t thinking. She provided a perspective as a woman of color.” Boggs became known to not only fight, but also beat the odds. Just think: A Chinese American woman deeply rooted in black community activism in Detroit since the 1960s. Along with her husband, a black autoworker who passed in 1993, she has fought for an everevolving revolution in order to propel America to a greater and better future.
Seeking Asian Female
Seeking Asian Female is a film about human understanding By Simon Astor IE Contributor Boggs
and saw her as a role model in the struggle for Third World liberation and solidarity during the age of Vietnam War protests and Ethnic Studies strikes,” Kurashige said.
And when Boggs’ autobiography was published in 1998, she spawned the curiosity of more activists striving to make lasting social change and thus convinced a new generation to place emphasis on the struggle of social justice in order to build meaningful life and sustainable community. “She has reconnected with Asian Americans activists who met her four decades ago and has been embraced by a whole new generation of scholars and activists—including me,” Kurashige said.
In 2005, filmmaker Grace Lee from Missouri set out on a project to meet other people named “Grace Lee” as a way to debunk “Lots of people in the mainstream hate on the quintessential and submissive stereotype Detroit. Others may feel sorry for Detroit. that comes with this Asian American woman Grace challenges us to rise above the scorn name, while capturing the complexity and and pity,” said Scott Kurashige, director of non-monolithic story of each woman. As she the Asian/Pacific Islander American Studies journeyed across the nation, she met Grace Program at the University of Michigan. Lee Boggs—the fiery social activist that did Kurashige has collected the speeches of Grace indeed break every stereotype. Lee Boggs for the past ten years. Boggs’ uplifting and awe-inspiring efforts to “Recognizing that the industrial capitalist economy has collapsed, Grace has helped inspire a whole new kind of movement— one driven by the creation of alternatives to the dehumanization and exploitation under capitalism rather than just trying to make the system be a little better and more inclusive,” Kurashige said.
Although Boggs has been mainly known for her revolutionary writing and grassroots organizing stemming from her devotion to Detroit’s African American community, Boggs influence in the Asian American community cannot be ignored and her identity as a Chinese American woman has helped shape her political movement.
“She represents the struggle of Asian American women,” Jung said. “Her politics are rooted in her identity as an Asian American woman. Boggs definitely embodies the struggle.”
love and engage her community during times of injustices have led the filmmaker to produce a feature-length documentary. After twelve years in the making, American RevolutionaryThe Evolution of Grace Lee Boggs has finally reached post-production and won the Audience Award for Best Documentary at the Los Angeles Film Festival in 2013.
“Director Grace Lee and the filmmaking team did a phenomenal job capturing Grace’s groundbreaking ideas and contagious spirit on screen. That’s why the film has been garnering standing ovations and audience awards all over the place,” Kurashige said. “I’ll just say this: Go see it with an open mind and you’ll be blown away.” Boggs’ story is one that inspires us to dream in the midst of uncertain social and political changes. And in moments of strife, injustices, and disheartening scenes, Boggs calls us to build upon true humanity.
“Our society places too much emphasis on Her wisdom, ideologies, and strategic ways toward social change have provided fresh material wealth and individual advancement. perspectives for Asian Americans who have Grace shows us that another world and another way of life is possible,” Kurashige said. sought for her guidance in times of upheaval. “Grace was briefly involved in the Asian American Movement [see her autobiography, Living for Change], when young radical activists looked to her for theoretical guidance
American Revolutionary: The Evolution of Grace Lee Boggs screens on February 8 at 5:30 p.m. at Ark Lodge Cinemas Screen 1. For more information, visit Seattleaaff.org.
In the earliest moments of Seeking Asian Female, a documentary by Debbie Lum, we’re introduced to a montage of eager white men, each hopeful to achieve his dream of landing an exotic bride. We’re treated to priapic, lingering descriptions of straight black hair and perfect eye-folds from men with mullets and angry stares, but the focus quickly narrows to one particular man, his intended mate, and Lum herself in an honest, penetrating look at both matchmaking and filmmaking.
Steven, a San Franciscan in his 60s has been in this game a long time. We’re shown crates full of catalogues from ages past. His filing cabinets overflow with evidence from the days where the prescription for “yellow fever” was handwritten letters with foreign postmarks, and we see how the Internet has refined and focused his efforts. He’s a fixated man. In interviews he reveals a firm belief in the stereotype of the Asian wife, man-hungry and eager to marry … and to please. There’s a wall of clocks in his home, each set, presumably, to the villages and provinces where his golden treasure waits. We see him max out his credit cards on too-frequent flights to China, get scammed by tech-hungry teases, and enter a relationship with Sandy, a resident of Shenzhen half his age. She seems eager to wed; it’s just as he’s always envisioned. “She’s so Chinese,” he says.
As we learn more about them, questions and patterns develop. For her part, is Sandy fetishizing the ideal of the rich, white “daddy” from America with a house, car, and yard full of blooming flowers? Is she fooling him? Is he too broke to offer her a proper life? Are they truly in love, or is she as hooked by the mythology of America as he is with the fantasy of the “submissive” Asian wife? All these questions and more open up in a fascinating exploration of happiness, culture shock, desperation, self-deception, and frequent, surprising moments of joy. But Steven’s “othering” of Sandy, and Sandy’s possible idealization of Steven, aren’t the only behaviors to observe. The documentary frequently makes us ask: is Lum making fun of Steven and hoping to exploit him, or does she find herself surprised by his humanity?
We expect a certain amount of manipulation or direction in documentaries, and Lum
admits and accepts this from the start of the film.
As she begins to play an increasingly vital role in Steve and Sandy’s life, she becomes as much a subject of the film as they are. She mediates in their arguments, acts as confidant, translator, and counselor, and looks inward to analyze the way she herself clings to stereotypes and ideals. Her awareness of this and frank narration of what she’s feeling as she’s filming is what makes Seeking Asian Female transcend an afternoon episode of your favorite reality show and become something worth your attention. Fascinating, completely human, contradictions are captured by Lum’s camera. Steven, frequently shown clumsily knocking things over, talks to Sandy like a pet or a child. Is it the language barrier, or is it that he can’t truly see her as an equal? At one point they have an explosive fight over a box of cassette tapes, and he yells at her the same way you would yell at a cat for batting something off a shelf. But he’s willing to scrape and beg his family for the money to build her the wedding of her dreams.
Sandy wavers between throwing in the towel and making it work. Is she just riding it out long enough to get a green card before she skips off, or does he really provide the kind of love and stability she needs? Ultimately, Seeking Asian Female is about communication. Beyond the Google translation the couple needs to complete their arguments, the electronic dictionaries they use to find the perfect words, and the heartbreakingly sweet stickers Sandy creates to help her learn the names of kitchen ingredients, are the unspoken languages of desire, need, trust, and sympathy. Lum has created a compelling portrait of three people struggling to find satisfaction in a world faced with the contradiction that the more exposure you have to something, the further away from understanding you can be. Does the ability to filter and categorize on dating sites help us find a person ... or a product?
The film is beautifully edited, but when she lets the camera run, and we see them crying, laughing, and trying to figure out what they want from themselves and from one another, there are moments of transcendent human understanding. Seeking Asian Female screens on February 9 at 5:00 p.m. at Ark Lodge Cinemas Screen 1. For more information, visit For more information, visit Seattleaaff.org.
16 — January 15, 2014 – February 4, 2014
INTERNATIONAL EXAMINER
IE ARTS
Tokyo Waka: A city for the crows By Yayoi L. Winfrey IE Contributor In a move reminiscent of Alfred Hitchcock’s The Birds, a lone crow angrily dive bombs a man casually walking down some outdoors stairs. Purposefully swooping, it mercilessly strikes its target’s head before flying off, leaving the man to puzzle over what prompted such a vicious attack. Writting letters and riding horses
Writing letters and riding horses: Magic at the Children’s Film Festival By Yayoi L. Winfrey IE Contributor Not only is 12-year-old Ellie at that awkward preteen stage, but she’s also the new kid in school prompting stares and loud whispers by her classmates. She’s a recent immigrant with parents whose English is their second language. Fumbling her way through grammar, the sixthgrader is painfully aware of her loneliness. But her only companion, besides her family, is the best friend she left behind in Israel to whom she connects through chatty letters.
In Foreign Letters, Ellie (Noa Rotstein) obsessively nails every detail of her new life in long missives illustrating her world of1982 America. Marveling to her pen pal about “all the free stuff” in the United States, she references plastic bags in the supermarket’s produce section, and packets of sugar and mustard at restaurants. Ellie also takes great delight in recounting weird American customs like “a holiday in December where everyone puts a tree inside their house.” Her unwelcome reticence also gives her acute observational abilities. While listening to a conversation where a man talks haltingly, Ellie writes, “English is so hard, even Americans can’t speak it. They keep stopping to remember words.”
After suffering a deep personal loss due to war, Ellie’s mother moved her family in hopes of raising the children in a more peaceful environment. Still, she’s mindful that they haven’t been truly accepted in their adopted country. Complaining to her husband, she tells him that the expression, “I have a cousin in Israel” is code for “I’m Jewish,” a phrase that shouldn’t be spoken out loud to non-Jews.
Directed by Ela Thier (also playing Ellie’s mother), Foreign Letters is based on her own childhood friendship with a Vietnamese girl. Authentic and captivating, its subtle but strong anti-war message is a healthy one for kids to see. The film is a part of Children’s Film Festival Seattle at the Northwest Film Forum from January 23 to February 2.
Another film showing at the festival, My Avatar Horse, hails from China and features a horse-raising Mongol family living on pastoral grasslands. Young Husile is the loving caretaker of his white steed, Chagan, who allows only the boy to ride him while tossing off others like flecks of dust. One day, Husile encounters three men who tell him Chagan is an avatar that protects their Boerhu Clan’s obo, or shrine, and that a reincarnation ceremony will take place in one year. Although they request that the boy continue caring for Chagan until their return, Husile’s father has other plans. Commanding his son to attend school in the city, which requires his living there, Husile’s father also leases the family’s land and takes a factory job making yurts. The series of abrupt changes wreak havoc for Husile who can’t seem to adjust to his new situation and surroundings. In his class, taught by his aunt, he plots to be with Chagan again while two mischievous boys attempt to help him.
This charming story includes intriguing ethnic customs that are highlighted at the Nadam Congress, a major occasion of the Eleventh Asia Arts Festival in Erdos InnerMongolia. Scenes of the dramatic event are breathtakingly beautiful, but unfortunately, too short.
Now, in its ninth year, the Children’s Film Festival Seattle runs for 11 days screening “Jew is a bad word,” she adds, “but Jewish some 130 films from 32 countries. Live performances, workshops, and the annual signature is okay.” pancake breakfast are also highlighted. This As daughter Ellie’s English improves so year’s festival theme is “magic,” and while does her ability to make friends. Soon, she’s both films contain elements of mysticism, it’s hanging out with classmate, Thuy (Dalena Le), the simple story of friendship that makes them a refugee from Vietnam. Together, they forge so enchanting. a bond built on their common experience of being outsiders thrust into a new environment Foreign Letters screens on Sunday, January 26 because of war. at 5:00 p.m. My Avatar Horse screens on Saturday, But while Ellie’s family enjoys a middle-class life, Thuy’s is impoverished and she wrestles with feelings of shame and loathing—even attributing imaginary traits to her real father. A model minority of her own making, Thuy refuses to readily accept Ellie’s friendship. But when she finally does open up, she embraces their intimacy and the way they share secrets, even teaching Ellie a Vietnamese dance.
February 1 at 7:00 p.m. For more tickets and more information, visit childrensfilmfestivalseattle.nwfilmforum.org.
Children’s Film Festival Seattle at the Northwest Film Forum January 23 to February 2 Northwest Film Forum 1515 12th Ave. Seattle, WA 98122
Welcome to Tokyo and the precarious relationship it shares with the 20,000 crows that inhabit it. The world’s largest city teems with some 13 million people who are forced to divvy up their work and play space with these striking, but, sometimes, unpleasant creatures. The question posed by directors John Haptas and Kristine Samuelson is this: Are Tokyo’s crows a part of its cultural landscape as some suggest, or are they merely a nuisance as others claim? In their documentary, the answer is inconclusive because, according to dozens of interviewees, these grand, widewinged birds are both necessary and vile.
To understand the Japanese connection to crows, the filmmakers trot out Edo-era paintings, literature and even modern photos demonstrating the birds’ long-time and constant presence in Japan. For centuries, Japanese have noted the crows’ existence in their environment. The case is also made on the birds’ behalf by those believing that in a metropolis like Tokyo, nature, whether artificial or real, is imperative for human survival. As much as so many complain about the crows, others recognize that they inject a breath of life to the urban landscape of omnipresent trains, skyscrapers, and unyielding concrete pavement.
Interspersing conversations with various artists, municipal workers, Buddhist monks and Shinto priests, avian experts, and even a homeless woman living in a park, the filmmakers aim for a poetic understanding of Tokyoites and the black birds some love to hate and others find inspiring. Although several discussions focus on methods of elimination including beekeeping, the argument that it’s
Tokyo Waka
not cruel to kill the crows is backed up by the fact that some 600 calls each year are made reporting attacks by them on humans.
Yet, these sleek birds have lived among people for so long, they’re used to eating their food, like the remnants of sushi and ramen. But they also pluck hairs for their nests from animals housed at a zoo, and destroy ponds by plunging down and snatching the fish from them. Further, they cause hazardous unhygienic conditions because they’ve learned to tear open garbage bags and spread the contents about. A priest even grumbles about the crows’ dirtying the sacred water of the shrine where he officiates. Amazingly, they have learned to work the faucets there. Tokyo crows are not only fearless; they’re also slick. Witness how they roll whole walnuts into the middle of the street to have them crushed by passing cars. Besides using vehicles as their nutcrackers, they also possess the smarts to fashion hooks from twigs with their beaks; using them to fish for insects from trees. Beautifully photographed with consummate care and attention, Tokyo Waka, which translates to Tokyo Poem, is visually entrancing backed by moody music. The incessant cawing, the flapping of spread wings creates a rhythmic cadence. But as a poem, the film feels more like a freestyle slam—with some verses in praise of crows and others wishing they’d fly away for good.
Tokyo Waka screens at the Grand Illusion Cinema (1403 NE 50th St., Seattle, WA 98105) from January 24–30. For more information, visit grandillusioncinema.org or call (206) 523-3925.
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