inDiaspora Cinema

Films Even Your Immigrant Mother Will Enjoy

Words by Joanna Fan (she/her)

I won’t shut up about Everything Everywhere All At Once (2022). I don’t think anyone can. At the risk of sounding like every other immigrant daughter who watched that film—yes, it really did change my life. But it also changed much of Hollywood’s discourse surrounding diversity and inclusion. An overnight sensation, the film encouraged and accommodated valuable conversations about who a heroine could be, what they looked like, and how they spoke. Most of all, it shed light on often marginalised immigrant stories and communities, illuminating the sacrifices our own mothers, fathers, and grandparents had to make. But the immigrant experience does not end at Everything Everywhere All At Once. There are still many stories unexplored.

So on that note, this is an inconclusive introduction to contemporary cinema about diaspora and the immigrant experience.

The Joy Luck Club (1993)

The Joy Luck Club is a story combining the two things I love most: an Asian ensemble cast, and a focus on immigrant mother-daughter relationships. It's told through a series of interconnected vignettes, following four Chinese immigrant women, their American-born daughters, and the battle between the juxtaposing worlds and value-systems they were raised in. This is a story that I, and many others, will be all too familiar with. It’s a never ending struggle to find equilibrium between an individualistic and collectivist culture. But Amy Tan’s story offers a solution—she highlights the importance of empathy in building bridges between different cultures and communities. Mum will be thrilled to hear that.

Bend It Like Beckham (2002)

Bend It Like Beckham captures the intersectionality of being an immigrant and queer (I know Keira Knightley’s abs were your sexual awakening). It’s a film that championed diversity and inclusion in the 00s, creating a platform for immigrant voices in women’s football. Perhaps this hyper-specific storyline is what truly makes the film a trailblazer ahead of its time, capturing the ubiquitous nature of immigration. Like The Joy Luck Club, the film explores the pressures of being the child of immigrants, and the difficulty of reconciling our own dreams and ambitions with the expectations and cultural norms of our families. Much to our parents’ dismay, I know we all held our breaths in anticipation for Jess and Jules to finally kiss. To quote on of Jess' aunties, “Lesbian? Her birthday's in March. I thought she was a Pisces.”

Persepolis (2007)

Persepolis contains the only acceptable use of ‘Eye of the Tiger’. Based on a graphic novel, it is an animated film about a young girl’s experiences growing up during and after the Islamic Revolution in Iran. Forced to leave her country due to conflict, political oppression, and social unrest, she navigates an unfamiliar Europe in search of freedom. The film is sure to resonate with anyone who has navigated a foreign country alone, as she struggles with feeling homesick and isolated in an unfamiliar place. Whilst the film’s details are unique to the time period, its politics are particularly relevant given the ongoing protests in Iran.

Brooklyn (2015)

Brooklyn is a historical portrayal of migration that makes you endlessly grateful to not be crossing the Atlantic on a boat. Although the film is set in the 1950s, much of the immigrant sentimentality has stayed the same. At its core, Brooklyn is a story about belonging—one that is sure to resonate with first-generation immigrants and international students. The true essence of the film is captured in its final lines: “You'll feel so homesick that you'll want to die, and there's nothing you can do about it apart from endure it. But you will, and it won't kill you. And one day the sun will come out—you might not even notice straight away, it'll be that faint. And then you'll catch yourself thinking about something or someone who has no connection with the past. Someone who's only yours. And you'll realise... that this is where your life is.” That’s all you need to know.

Bao (2018)

Bao is the cutest thing you’ll ever watch. It's a Pixar short, so you have no excuses. I still remember the outrage this short film caused when it was first released—it was like no one had ever heard of symbolism before. But as an avid eater of baozi, let me mansplain it to you. When her only son moves out, a Chinese woman begins mothering one of her baozi that has come to life. As he grows and eventually plans to leave home with a new fiancée, she eats him so that he’ll stay with her forever. I know it’s a strange storyline, but this allegory is an ode to immigrant mother-son relationships. It’s also the powerful story of an immigrant, directed and written by an immigrant, addressing immigrant issues like internalised racism and cultural differences. I still cry every time I watch it—it truly illuminates the sacrifices our parents had to make for us. Shut up and let us enjoy Bao

Minari (2020)

Minari is a touching exploration of collectivist culture. The film follows a Korean-American family migrating from California to rural Arkansas in pursuit of the 'American Dream'. As they encounter language barriers, cultural differences, and alienation, the film uniquely portrays the experience of growing up in an overwhelmingly white community. In the face of financial difficulty and struggles to adapt to farm life, the story emphasises the importance of collectivism, family, and community support for immigrants. Halmoni (Grandma) Soon-ja, who joins the family from Korea, brings her own rigid perspectives and cultural roots— an image not unlike my own upbringing. Her presence also creates a support system for the family, values at the heart of any immigrant dream. Where would we be without our grandmothers?

In the Heights (2021)

In the Heights is an immigrant theatre kid’s wet dream. By following the colourful lives in a predominantly Latin American neighbourhood, New York City’s Washington Heights, the film addresses many contemporary migration issues facing American society today. Most compelling is its exploration of the politics surrounding migration, and the ripple effects that discriminatory policies can have on immigrant communities. Although not explicitly named, its quiet commentary on the Deferred Action for Childhood Arrivals’ (DACA’s) effects on undocumented youth is a heartbreaking and timely story. For every step forward, we really do take two steps back.

Polite Society (2023)

Polite Society is a new, kickass, hilarious, and heartwarming story about sisterhood. Think St Trinian’s meets Kingsman, but brown. British-Pakistani sisters Ria and Lena are caught in the tension between tradition and legacy, and the desire to forge your own (culturally blasphemous) path. When Lena agrees to an arranged marriage, Ria is horrified, and becomes determined to find a reason to break off the engagement. Cue: shady fiancés, even creepier mother-in-laws-to-be, and secret experiments to manufacture the perfect South Asian wife. Ria and her two best friends, armed with extra-curricular martial arts training and bucketloads of teenage girl rage, take this ominous operation head on. Polite Society is, at its heart, about being true to your own dreams amidst the pressures of holding onto your culture. Plus, you get badass brown gals kicking ass in traditional South Asian outfits. What more could you ask for?

(If you’re quick, you could still catch it in cinemas!)