Asian American + Theater + Sex: Two Reviews

I saw two excellent plays recently. Both involved Asian Americans and sex. Well, they were actually about love and relationships, but both had sexual themes and elements that (racial stereotype alert) perhaps stood out more for me, because the characters are Asian and so am I (end racial stereotype alert).

ReAct Theatre is putting on "A Language of Their Own", a four-character gay relationship drama that premiered in 1995 - quite a different era despite being only 17 years ago. Meanwhile SIS Productions is wrapping up "Sex in Seattle", an ensemble romantic comedy centered around Asian American women, after an epic 12-year, 20-episode run. It's the end of an era in itself.

Aside from Asian American characters and themes of love/sex, the two plays appear to be very different. "A Language of Their Own" is serious and confronting, a long stretch of dialogues and monologues that kept on flowing and shifting on a sparse and elegant set. "Sex in Seattle" is bright and colorful, with fast-paced scene changes, quirky video projections, sitcom-style story arcs, and hilarious schticks interwoven with thoughtful conversations. "Language" is about gay men; "Sex" resolves around straight women. However, both plays succeed in terms of both sub-culture relevance and universal appeal; and both plays demonstrate the unique and irreplaceable power of live theater.

In "A Language of Their Own", four gay men (three Asian American, one white) navigate issues including break-ups, hook-ups, AIDS, open relationship, and IKEA. While some situations around AIDS might happen differently today, most other plot points are still very much applicable, once again showing that love is a timeless topic. Even a couple of references to Madonna ended up working just as well 17 years later, thanks to her unique staying power in the music business. Needless to say, a "gay Asian play" is doubly prone to stereotypical portrayal and cultural insensitivity. Kudos to director Victor Pappas and the well-balanced cast for treating the story with sincerity and constraint without shying away from the difficult themes. David Hsieh, ReAct Theatre's founding artistic director and frequent director, steps on stage this time as Ming - perhaps the most conflicted and challenging character in the play - and proves himself to be a fine actor just as he is a director. While this may not be a play that screams "come see me" on paper, ReAct's version is a fluent and memorable production that succeeds on multiple levels.

In "Sex in Seattle", four Asian American women and their various friends/suitors are on a seemingly never-ending quest for true love. They dream, discuss, question, panic, play relationship musical chair, and even have sex on stage (with clothes on, you dirty mind). It's like a cross between "Sex and the City" and "Friends", but on stage and with Asian American characters. For over a decade, this episodic play has entertained audience with its unique brand of humor and endearing collection of characters, and kept us guessing in the long stretches of time (half year or one year) between episodes. This being the final episode, the obvious question is: Where does each main character end up? Especially Elizabeth, Kenneth and George, the quintessential Asian woman - Asian man - white man triangle that had fans rooting for all three (but not all three together)? Curiously titled "Happily Ever After...", this episode strikes a great balance between fairy tale endings and realistic disappointments. As show creator/writer/star Kathy Ksieh stated in the program, while she had certain endings in mind from the very beginning of the show, life doesn't always end up the way one expects. Personally, I was very impressed by how the ending played out, and how it managed to make some excellent points about love and life. Granted, some characters didn't end up where *I* wanted them to. But that's inevitable - I'm sure every fan of the show had their own version of the "perfect ending". "Happily Ever After..." was funny, emotional, poignant, a wonderful yet bittersweet ending to a 12-year theatrical courtship.

Theater is hard. Asian American theater is probably even harder. But between the long-running success of "Sex in Seattle" and the revisit of "A Language of Their Own", they show us a lot of hope - as long as we have passionate artists (such as the Hsieh siblings) doing great work that comes from the heart.

"A Language of Their Own" plays its final weekend this Friday & Saturday evenings at Richard Hugo House on Capitol Hill. "Sex in Seattle Episode 20: Happily Ever After..." plays Thu/Fri/Sat evenings through May 26 at West of Lenin in Fremont.

SIFF Day 23-25 (Jun 10-12): Happy Ending

My final weekend of SIFF turned out to be quite rewarding, with five very different films that I enjoyed watching.

Romeos (Germany) - B+

A twist-and-turn love story between a transgendered man and a playboy type. Heartfelt, honest, eye-opening about a sensitive subject without being preachy or exploitive.

Me with "Romeos" director Sabine Bernardi

Hot Coffee (USA) (Docu) - A-

The McDonalds coffee lawsuit is only a small part of this must-see documentary, which digs deep into what I think is the biggest struggle in today's America: corporation vs individual interests. The film rightfully addresses it as a civil rights issue, making a convincing case for the need for change. Director Susan Saladoff's 25-year experience as a civil justice lawyer comes through strongly and plays to great benefit: With its sound structure, brisk pacing and layered presentation, "Hot Coffee" carries the intensity and emotionality of a good courtroom drama.

Me with "Hot Coffee" associate producer Erin Crumpacker, Washington native

Sound of Noise (Sweden) - A-

A group of music rebels conduct a heist of percussion. Highly innovative and entertaining! Must see to be believed!

Spud (South Africa) - B+

Despite an abundance of stereotypes and cliches, this coming-of-age story succeeds on the strength of winning performances by two young stars. John Cleese impresses in a supporting role. Now if only the theme of bullying was not presented in such simplistic light...

Revenge of the Electric Car (USA) (Docu) - B+

Presented with the flare of a Hollywood thriller, this entertaining documentary tells the fascinating stories of several key players in the electric vehicle movement. Apparently, it does take big personalities to make big moves.

Life in a Day (UK) - B

This was an ambitious project for sure: People around the world sent in video footage of their lives on July 24th, 2010; selected entries were edited into a feature-length film. I wasn't sure how it would turn out - A brilliant masterpiece, or a chaotic mess? Now that I've seen the result, it's somewhere in between. I would say, it is much more engaging and effective than I feared it might be. The montage sequences and the featured stories work together to create a cohesive experience that leaves plenty of impressions. Unfortunately, the strongest impressions are limited to bits and pieces. With only a thin thread of a theme connecting everything, the film is akin to a crowded party, where I mingle with lots of people without really getting to know anyone. At the end, it's hard not to see this as a novelty concept, an experiment - albeit a well-executed one - rather than a new avenue for filmmaking.

"Life in a Day" editor Joe Walker at SIFF Closing Party

SIFF Day 22 (Jun 9): What the...??

The Catechism Cataclysm (USA) - B

The most puzzling thing about "Cat Cat" (as someone called it) is that I actually enjoyed it! Considering that it is so NOT the kind of film I typically like. There is a clear narrative - and a few other stories within the story - yet the whole thing seems intentionally nonsensical. Meaning, it doesn't make much sense and probably doesn't want to. Usually I reject or even despise that flavor of filmmaking, but here, I enjoyed it in a weird and inexplicable way, helped by strong acting from the whole cast, steady pacing, and abundant absurd hilarity. This film apparently draws heavily from the style of religious parables, which I'm not familiar with so I can't comment on that angle. Director Todd Rohal said he wanted to make a movie that nobody can easily explain to others; I think he succeeded, so I won't even try. They filmed and edited the whole thing in three weeks, thinking it would only be seen by like ten people, and was very surprised when it got into Sundance and found theater distribution. So if you are curious about this oddball creature, you will have a chance to see it! Whatever you do, just don't ask the question: "What does it mean?"

Post-screening Q&A at the Neptune

L: me with director Todd Rohal. Red-eye intentionally kept intact in honor of the film :-)

R: me with star Steve Little, who portrays a disenchanted priest in the film, and shows up

here appropriately looking like Jesus Christ.

SIFF Day 21 (Jun 8): Change of Plan

For the second time this SIFF, I was shut out of a sold-out screening. And for the second time, I ended up watching a Hollywood blockbuster instead.

Some explanation here... As a "full series" passholder, I can get into any regular screening as long as there are stills seats. However, if there are enough passholders showing up to fill the allotted passholder seats, and all other seats are sold to ticket buyers, then any passholders showing up after that will be turned away. (Platinum passholders can always get in and be seated in specially reserved seats.) In my nine years as passholder, I have only been turned away a few times. Today, my friend Eric and I carpooled to go to the much-buzzed-about horse whisperer documentary "Buck". We arrived at SIFF Cinema about 15 minutes before showtime, and ended up in the passholder standby line. Eric's sister Sandy arrived earlier and was ahead of us in standby. At the end, Sandy was the last one let in, while Eric and I got turned away along with nine other passholders and a long line of people waiting to buy tickets.

Last group of standby passholders being let into "Buck".

Notice the SIFF staffer stopping the line right after Sandy got in;

and the long line of ticket standbys (along the wall) who waited in vain.

We decided to head to Pacific Place and catch a non-SIFF movie before our planned 9:30 pick. It all worked out really well, and we turned our disappointment into a pleasant evening!

Kung Fu Panda 2 (USA) - A-

This is actually one of three Hollywood animations included in the "Films4Families" section of this year's SIFF. Eric and I didn't go to its festival screenings, so it's somewhat appropriate to see it now. We both liked it a lot. I enjoyed it more than the first "Kung Fu Panda"; Eric thought it wasn't as good. For me the moral lesson in the film, though cliched and a little forced, resonates well and adds an extra layer to the well-developed story. Eric, however, took issue with some of the character motivations and behaviors. We both loved the bits and pieces of hilarity and cleverness scattered throughout the movie.

Princess (Finland) - B+

The story started in 1945, when a woman in a psychiatric hospital claimed she was a real Princess. While there are comedic elements, this film is an engaging drama that feels as sad as it is hopeful. I thought it worked remarkably well as fiction, and when I discovered that it is closely based on a true story, I felt even more impressed and impacted by the film and the story of the Princess.

SIFF Day 17-18 (Jun 4-5): Rewarding Picks

My schedule only allowed me to catch three films this weekend. Luckily, two of them were highly rewarding.

Do You See Colors When You Close Your Eyes? (USA) - B+

After young poet Jonathan passes away, his boyfriend Christian (fiance actually) and his twin brother Michael meet up and go on a road trip to spread his ashes. In different yet similar ways, they mourn their loss of Jonathan, and seek some kind of remedy from each other. Their tender heartache and yearning for connection permeate this hauntingly beautiful film, starting from the very first scene which launches right into the timeline-jumping narrative. Sage Price absolutely shines in an incredible dual-role as twin brothers, especially considering they filmed everything in only seven and half days. I did find Christian's refusal of moving on from Jonathan to be a bit overwhelming and tedious; however that is a minor flaw in a highly memorable film.

Q&A; me with writer Joshua Young, star Sean Frazier, and director Caleb Young

Writer Joshua Young said he intentionally left all the directing to his brother Caleb, because all their previous filmmaking collaborations led to constant bickering. Yet brotherly connections might have been mysteriously at work after all: Joshua wrote the script with a broken-up timeline but gave it to Caleb in a chronological form. On his own, Caleb came up with his narrative structure that was essentially identical with Joshua's original script. Spooky?

Amador (Spain) - B-

A woman, newly pregnant and in need of money, finds a great job looking after an old man. Unfortunately, he dies. What's a maid to do?? This film has a good ending and a few great moments leading up to it, but the bulk of it really tested my patience. I think it would've made a great short film.

My So-Called Enemy (USA) (Docu) - A-

One of the thorniest topics in the world - the Israel-Palestine conflict - gets put into some very humanistic perspectives through the eyes and hearts of teenage girls from both sides of the wall, who came to the U.S. in 2002 to attend a leadership program together. Director Lisa Gossels spent the next seven years following up with the girls (who became young women by the end of the process), and another one and half years editing the film together, a process that included many test screenings to make sure the presentation is as balanced as possible. For that reason, as well as the safety of the young women involved, some powerful or controversial interviews were unfortunately left out of the final product. Even so, this is an eye-opening and thought-provoking documentary that could have a great impact by getting people involved in a push for solution. The clear focus on the girls' personal journeys and friendships works wonderfully, producing many memorable scenes that are deeply touching and poignant.

Sunday's screening was followed by a thoughtful and lively Q&A with Lisa, who was great with the audience. The fact that most of the audience stayed for the Q&A - which seldom happens at SIFF - was a testimony to the film's impact.

SIFF Day 16 (Jun 3): Hollywood vs. Independent

My plan was to catch the French RomCom "The Names of Love" at Pacific Place, 1:30pm, and then take a break for the next timeslot. To my surprise, the show was sold out! I took advantage of this unexpected break from SIFF to catch up on two recent Hollywood hits. Then it was back to SIFF with two foreign (English-language) independent films. It was quite fascinating to experience the contrast of Hollywood vs. independent in one day. Score-wise, things evened out pretty well. I will expand on that comparison later; for now just the quick reviews, since I desperately need to catch some sleep before heading to movies again!

(Non-SIFF) Thor - B+

Kenneth Branagh instills a sense of gravity and regality to this decidedly Hollywood story, which is actually refreshing in this day and age when most superhero movies seem obligated to include irreverent comic reliefs. Chris Hemsworth and Natalie Portman nicely embody the charisma of their characters - In this case it's more about being a movie star than being a fine actor.

(Non-SIFF) Bridesmaids - B+

After a barrage of crazy antics and gross humor - which is not really my thing - the second half of the film settles into a new focus on emotions and introspection, bringing the story out of pure cliches and into a surprising place of heartfelt connection.

Weekend (UK) - A-

I don't know if director Andrew Haigh set out to make a gay version of "Before Sunrise," but either way he definitely succeeded in that regard (which is high compliment in my book!). Following two newly acquainted men through a weekend, with one of them set to leave the country on Sunday, "Weekend" is a rare gem that is a great gay film as well as a great romance film. Once the characters and plot progression settle into place, the film rolls on with remarkable authenticity and intelligence. The dialogues and conflicts feel incredibly real, which is of course enhanced by the palpable chemistry between the two leads (Haigh auditioned over 60 actors before making the pick). Sealing the deal is a wonderful ending, again reminiscent of "Before Sunrise," and again very authentic. I didn't care for the gratuitous and liberal inclusion of alcohol and drug use; I felt that they were mostly irrelevant to the story. But by the same token, since they were mostly irrelevant, they didn't cause much harm either.

Me with director Andrew Haigh

Small Town Murder Songs (Canada) - B-

The true stars here are the songs, gospel-rock concoctions by the band Bruce Peninsula that punctuate key scenes throughout the film. Another device, religious quotes in huge fonts serving as "chapter markers," seems less effective. The rest of the film, though solidly directed and acted, is perhaps more lightweight than the premise implies. I craved something stronger from the story.

Director Ed Gass-Donnelly answering questions

SIFF Day 13-14 (May 31-Jun 1): I Think I Was Supposed to Like It

Catching up on my reviews after a few days of being busy with a work project...

Lesson Plan (USA) (Docu) - B

As a technically straightforward documentary with mostly talking heads and archival photos/videos, the power of "Lesson Plan" lies in its subject matter. The intriguing story of the Third Wave is told by students who went through it as well as Ron Jones himself, discrepancies and all. The film doesn't provide much answer beyond that, but it serves as a serious reminder that we humans are really good at justifying what we have done (or will do). Or, as another quote from the film says: Any group of people with a shared extreme opinion, no matter how bright and educated they are, can be dangerous.

SIFF's Beth Barrett with "Lesson Plan" filmmakers

"Bibliothèque Pascal" (Hungary) - C+

The artfully presented story is reminiscent of the films from Terry Gilliam and Tarsem Singh, though it does get self-indulgent after a while and goes on a little too long. At the end, I did like the overall message and took away some food for thought. Whether it was worth the two hours of time, that's somewhat arguable.

"Win/Win" (Netherlands) - B

A subtly intense and deeply personal journey of a young man who is winning big time in his job as a stock broker, but losing just about every battle in his personal life, mostly with insomnia and loneliness. It is an engaging film that feels strangely detached at the same time, perhaps due to the fragmented storytelling. I also file it under "a lot of time spent on making the same point repeatedly." Which is not necessarily a bad thing, I might add.

"Simple Simon" (Sweden) - B

This is a fun, quirky romantic comedy that had a sold-out audience in stitches. My main problem, however, is that the Asperger's Syndrome as exhibited by Simon in this film rings false most of the time. Although I'm not an expert on Autism Spectrum Disorder, I am currently working on a documentary about ASD, and therefore have been interviewing and filming with autism experts and children with autism. Based on those experiences, I find Simon's symptoms to be unauthentic. I would be curious to hear from others who have seen the film and are familiar with Asperger's. In any case, if you are not distracted by this issue like I was, you will probably enjoy it quite a bit. One pivotal scene, which involves Simon executing a plan in a very non-Asperger's fashion, is the delightful highlight of the film.

Packed house for "Simple Simon"

SIFF Day 12 (May 30): More Shorts

I camped out at SIFF Cinema for the final day of the ShortsFest. It was a good day with many excellent selections, and I enjoyed meeting many of the filmmakers. However, I was also feeling a little stir-crazy after three and half days in movie theaters. At one point today, I felt like it was late evening... Turned out it was mid-afternoon! So as much as I enjoyed the long weekend of films, I'm also glad it's over.

Even after watching 9 of the 16 shorts packages between Fri - Mon, I managed to miss Jury Award winners for Best Live Action Short ("Time Freak") and Best Animation Short ("The Eagleman Stag"). Hopefully I will get to see them later.

Shorts: Seattle Stories - B-

Though not the most impressive package technically (which is somewhat expected), there are memorable entries about two Pike Place Market artists ("Belltown, 98121" and "Busking Cadenza"), a pair of queer artists who blend dance with comedy acts ("The Cherdonna and Lou Show: The Movie!"), Seattle's vibrant DIY music scene ("We Invent You"), and Ivan the laser show artist at Pacific Science Center ("When the Lights Go Out"). Ultimately, this package is as much about celebrating Seattle as it is about celebrating local filmmaking.

Large group of filmmakers for the Seattle shorts; dance artists Cherdonna & Lou

Shorts: Twists and Turns - B-

"Library of Dust," directed by Ondi Timoner and Robert James, is the very deserving winner of Jury Award for Best Documentary Short. By telling the story of 3,500+ unclaimed canisters containing cremains of past psychiatric patients at Oregon State Hospital, the film sends a powerful message of celebrating and honoring every member of our society. The five live action shorts are a mixed bag, ranging from funny to creepy to intense, from pleasantly nice to painfully slow.

FutureWave Shorts - B

It wouldn't be fair to hold these shorts by young (18 and under) filmmakers - many of which were school projects - to the same technical standards as the other shorts in the festival. With that said, I was quite impressed by the creativity and passion demonstrated by this package of 19, including several that came from Ballard High School. Though it's hard to pick favorites, I especially applaud "The Adventures of Floating Boy and Flying Girl," "How Could She?" and "Reflection" for their uniqueness, and "Deaf Perspective" for its social relevance.

(Top L-R, Bottom L-R): FutureWave Q&A;

me with Joseph Yao, Prodigy Award winner ("The Million Dollar Watch");

me with Rogan Shannon ("Deaf Perspective");

SIFF's Dustin Kaspar with Ballard High seniors Blair Scott & Sheridan Koehler ("Reflection")

ShortsFest Closing Night - A-

If only all shorts packages were as strong as this one! "North Atlantic," a touching story about radio communication with a pilot on a doomed flight, is my favorite short of the festival and a common pick among those I talked to. "Cataplexy" is a pitch-perfect comedy that, astonishingly, was made for a 36-hour film contest (and won the contest). "Monkeys" is almost as funny and "Steve," starring Keira Knightley in a non-annoying role and Colin Firth as a questionable neighbor, is good for some chuckles as well. "Danny & Annie" uses radio interview and cartoon animation to tell a bittersweet tale of long-time love.

Closing Night Q&A; Shorts Competition jurors announcing the winners;

me with director John Salcido ("Cataplexy");

me with Documentary Short winner Robert James ("Library of Dust")

SIFF Day 11 (May 29): Have Guests, No Camera

Today I took a break from the ShortsFest and watched four feature films. Seeing that they all had filmmakers attending, it was a perfect day to forget my camera.

The Whistleblower (Canada) - A-

This gripping political thriller about human trafficking may very well become one of the must-see films of 2011. It kept up the intensity without being sensationalizing or exploitive; Rachel Weisz and a strong supporting cast carried the weight of the story with ease and finesse. I walked away with somewhat of a doomsday feeling, saddened by the level of cruelty and injustice that still run rampant in our world, and the extent to which most people - myself included - remain unfamiliar with such situations (even though so much can be found with an Internet search). Yet there is always hope for progress and small victories, even just the little bit of awareness raised by films like this one.

White Irish Drinkers (USA) - B

The story is boggled down with too many familiar elements, but strong directing and acting make this a worthwhile film. Lead actor Nick Thurston proves himself to be one to watch. The blue collar setting and the focus on family relationships (particularly the one between the two brothers) remind me of Ben Affleck's "The Town" - which, granted, is a much better film overall.

Late Autumn (South Korea/USA) - C+

There is a common phenomenon in Chinese (Asian?) cinema, where a female character remains stone-faced and expression-less for an extended period of time, while refusing to answer questions like a normal person. For me it's irksome; and "Late Autumn" seems all too willing to demonstrate this phenomenon for most of the film. I also didn't buy into the chemistry between the two main characters, or how their personalities shifted. Now back to the film itself... There are several clever and creative scenes that shine on their own, but in terms of story structure and character development, the film leaves much to be desired. It feels more like a series of film segments, instead of an organic whole. It's rare to see an Asian/Asian-American film set in Seattle, so it's quite a pity that "Late Autumn" fails to heat up the screen.

Surrogate Valentine (USA) - B

An ultra-low-budget, black-and-white, quasi-road-trip-movie about a singer/songwriter (Goh Nakamura playing a version of himself), a bad actor, and a dubious movie project. That sounds far from a sure bet, so it is a pleasant surprise that "Surrogate Valentine" turns out to be sweet, funny, endearing and enjoyable. The post-screening Q&A was one of the liveliest I've seen, thanks to an excited audience, a beer-influenced Goh Nakamura, and an audience member that downloaded the memorable ringtone from the film right on the spot.

Me with "Surrogate Valentine" director Dave Boyle and star Goh Nakamura

(thanks to Ramsey for taking the photo!)

SIFF Day 9-10 (May 27-28): Time for Shorts

An African Election (Ghana) - B

This documentary holds special interest for me, because I took a trip to Ghana in the fall of 2008 for a charity project. (It was the subject of my own documentary "Hope, Ghana.") That was about one month before the election depicted in this film, and I witnessed some of the pre-election excitement. It was during the same trip that Obama was elected in the U.S., adding another level of intrigue to the experience. Ghana, the first sub-Saharan nation to gain independence in 1957, holds their presidential election every four years (same year as the U.S. election) and has two major parties that have dominated. So the comparison with the U.S. is inevitable. When the election in December 2008 ended in a virtual tie between two major candidates, what happened next was in sharp contrast with the Bush-Gore debacle in 2000. "An African Election," benefitting from an unprecedented level of access and trust that director Jarreth Merz was able to obtain, tells a remarkable story of a country that displayed passion, hospitality and civility under intense situations.

Director Jarreth Merz answering questions at Harvard Exit Theater

The funniest moment came during the post-screening Q&A, when a woman (she sounded like a well-educated white woman) asked the director how he "miraculously" found a farmer who was so articulate and thoughtful about politics. I don't know where this lady received her knowledge about Africa, but based on my personal experience in Ghana, I was not surprised at all by the comments made by the farmer. Most Ghanaians I met, in both cities and villages, were bright, aware, and passionate about their country. Perhaps the real significance of this documentary is to allow the audience a glimpse into the Ghanaian culture and personality.

ShortsFest

Short film is a great format that offers a big variety of cinema bites at a fast pace. Some of these bites are quite tasty or even super-brilliant. The short film sub-festival of SIFF runs for three and half days at SIFF Cinema, with 16 different packages and over 100 short films. I plan to catch over half of them - and that's still a lot - so my review will only mention the highlights from each package.

At SIFF Cinema (L-R): Dustin Kaspar and Dan Doody of SIFF,

Geoff Klein and Mo Fine of the Tumbleweed Film Festival

ShortsFest Opening Night - B+

The opening night package, supposedly the best of the best, felt uneven to me. My absolute favorite was "The Fantastic Flying Books of Mr. Morris Lessmore," a stunning, imaginative, and poetic ode to books, originally inspired by the scene of paper-covered streets of New Orleans after Hurricane Katrina. The visuals were so refined and smooth that I didn't even realize it was stop-motion, which made the library scenes all the more incredible. Check out the trailer and iPad app(!) at Moonbot! Two short-short comedies, "We Are What We Drink" and "Careful With That Crossbow," achieved hilarious results with simple premises. I found "The Abyss Boys" a little too bleak and fatalistic, but I'm sure a lot of people loved it.

Packed house for ShortsFest Opening; post-screening Q&A;

me with "We Are What We Drink" director Marc Hardman (UK);

me with Calvin O'Neal Jr. from Moonbot

Thrilling Tales of Astonishment - C+

Horror is not a genre I generally enjoy, so I took a chance in sitting through this horror-heavy package. The thing is, even in the most gory horror films, I can appreciate clever plots and strong characters. Not a lot of those in this package, except for the mischievous opener "Moving Day" a.k.a. "fairies behaving badly". "The Dungeon Master," "Chum" and "BlinkyTM" were moderately successful, but the rest of the package were head-scratchers.

Sat May 28, great sunny day, FolkLife festival in full swing...

Alas, I am going indoors for more cinematic samplings.

The Family Picture Show - A-

Hamster, babies, bunnies. Awww. Even the snow rodent is adorable. But beyond the cuteness factor, there are great artistry, innovative storytelling, and important messages to be found in this mostly animated package of 13. "New Digs" is the cutest of the bunch, followed closely by "Amazonia." "Walkin' on Snow Grass," a quiet piece from Japan, is hypnotically beautiful. Also memorable are "The Yellow Balloon" (pencil sketch animation), "The Sasquatch and the Girl" (shadow puppet style, made in Flash), "Precise Peter" (German humor), and the seemingly "Coraline"-inspired "Temple Rider."

"The Sasquatch and the Girl" director Trevor Knapp Jones

Between The Silences - B

"Howl of a Fish," a 20-minute French short about a poet working at a phone survey center, looks and tastes like a full meal instead of an appetizer. "Sign Language" is a great example of how a short can succeed with a simply yet beautiful story. "Project Silence" makes me take notice of the director's visual poetry, though not necessarily his story-telling.

Directors Tess Martin, Matt Kazman, and Bruno Caticha (Brazil)

Boy Meets Boy - D/B-

Fair disclosure here: I submitted a short film to SIFF 2011, which would've fit perfectly in this package. It was rejected. So I couldn't help carrying a sense of awkwardness as I went into this show. I liken it to being dumped by someone and then attending their big fancy wedding... That said, I can assure you that my score for this package is not an act of revenge. Indeed, after being repeatedly disappointed by the gay short packages in previous years, I would much rather see a great collection that blows me away. That didn't happen. The best two, "Requited" and "Cappuccino," are authentic and heart-felt. The other selections suffer from a range of issues including laziness, messiness, and lack of depth. And then there is "I Want Your Love," a pornographic short film. Not glorified porn, but 100% real porn, produced by a commercial porn website nonetheless. Call me a prude if you want, but I consider it absolutely inappropriate for a general-audience festival (without any warning, even). If my short film had been played alongside it, I would have been deeply offended and insulted. The fact that SIFF considers the gay short package an appropriate venue for commercial porn is a major disservice to the gay community, and a slap in the face for gay independent filmmakers. And I also feel offended on behalf of the word "Love", because the title should have been "I Want Your Sex." I give this package a score of D, or B- if the porn piece is excluded.

"Boy Meets Boy" Q&A; me with "Requited" director Sal Bardo;

me with "Cappuccino" director Tamer Ruggli (Switzerland);

me with Seattle filmmaker Rolito Mojica

SIFF Day 7 (May 25): Language Barriers

Tyrannosaur (UK) - B(?)

Seriously. Some British films should be required to have English subtitles. The accents are so thick here that I think I understood less than 20% of the dialogue. Most others said they had a lot of trouble too, so I don't feel too incompetent. Anyway, based on what I saw, it's a solid film. The SIFF description made me fear that it would be super-gritty and super-intense the whole way through. Turned out it's not that bad (not that gritty and intense is bad), though some scenes are definitely brutal. It's not my favorite type of story, but "Tyrannosaur" is a well-made film with an appropriate ending.

Page One: Inside the New York Times (USA) (Docu) - B

The topic of online vs. print media is a highly relevant one in today's society. (I mean, you are reading this review through online media right now...) This documentary offers a fun ride-along with the daily grind at the New York Times, one of the biggest tentpoles in the print world. (What a snazzy office building!) There are some great characters and highly amusing stories that should make this an enjoyable watch for everyone. I would have loved to see the film dive deeper into some of the subpoints, or organize the various stories in a more connected way. Additionally, as a documentary filmmaker myself, I was bothered by the lack of technical finesse and consistency. A lot of the camera movements seemed unnecessary, and sound quality was bad in many scenes. Come on, you are interviewing the New York Times. Invest in a good microphone.

panel discussion following "Page One"

Apart Together (China) - A-

This film is a wonderful illustration of how cinematic languages can differ from country to country. The pacing is slower; the camerawork is restrained and pulled-back; and the characters don't generally wear their feelings on their faces. All these can sometimes make a painfully boring or detached movie - as I have unfortunately experienced in previous SIFFs - but in this case they help build a beautiful story that is quietly moving. Starting with a premise that's both interesting and challenging, the film walks a somewhat unexpected path before reaching a richly meaningful conclusion. As someone who grew up in China, I can say that the characters and their interactions feel very authentic, full of subtleties that I hope will not be totally lost on an American audience. Some old Chinese songs appear as significant supporting players in the film, in a way that unfortunately cannot be conveyed through subtitles.

OK, so that was 19 films over 6 days... I am taking a day off from SIFF tomorrow, then coming back to dive into the ShortsFest over the long weekend. See you soon!

SIFF Day 6 (May 24): Against Expectations

Beginners (USA) - B

Oh, how I wanted to love this film. Ewan McGregor - one of the finest actors working today. Christopher Plummer - I don't think he is capable of being disappointing. And a premise that seemed full of potential. So how did I end up feeling so disinterested? All the tricks and quirks, from stock photo sequences to a subtitled dog, are quite effective. It's the overall story that I have trouble connecting with, particularly the girlfriend - I fail to understand what the relationship is about and why they are together. When I don't buy in the primary relationship, that pretty much kills it for me. The father's story is way more engaging. Unfortunately, the narrative structure of jumping back and forth between two timelines, while interesting at first, eventually started being distracting and disruptive. Despite all that, I still consider "Beginners" worth watching for the two actors alone.

Perhaps it served me right that I didn't act fast enough to get ticket to the Ewan McGregor tribute event, thus ending up watching this film under the horrible sound system at the Neptune? I heard many people complaining that they missed a lot of the dialogue. If I could hear everything better, that might have helped... Who knows.

A Lot Like You (USA/Tanzania) (Docu) - B+

Screening again on June 12

Seattle local Eliaichi Kimaro, born half-Tanzanian-half-Korean, went to Tanzania to find a deeper understanding of her paternal root. During her several years of filming, however, the focus shifted to somewhere else... and then to somewhere totally unexpected, when the issue of sexual violence and abuse came into the picture. In my conversation with her after the screening, Eli stated that she sees herself as an activist more than a filmmaker. This film is first and foremost for her own purpose (and a gift for her daughter); her process of shifting focus and, to a certain degree, the lack of resolution are reflected in the documentary as well. (There seemed to be strong interest from the audience to know what happened next after the film finished.) But like Eli said in the Q&A, the more personal and honest she went with the documentary, the more universal it became. Originally slated to be called "Worlds Apart," "A Lot Like You" is an appropriate title for a film that's so appropriate for today's ever-blending world.

"A Lot Like You" Q&A; post-film reception;

me with Eli, her mother, and her husband

SIFF Day 5 (May 23): Good Touch & Bad Trip

My tour of the SIFF venues continues today with the Admiral Theater in West Seattle. Some people dislike that venue; I don't really mind it. True, the screening room is so long that most seats feel too far away, and the projection is too dark. But the long room also means good viewing angle, and there is ample leg room.

Touch (USA) - B+

This half-Vietnamese, half-English film centers around the special relationship between a young Vietnamese-American woman Tam, who newly became a manicurist, and one of her clients, a Caucasian car mechanic who is trying to save his faltering marriage. By "special relationship" I don't mean an affair - It is indeed quite unusual and intriguing. The secondary storyline is about Tam's relationship with her parents, both currently and in flashback. The unconventional turn of events is not always convincing, and the multiple subplots seem to compete instead of gelling together. That said, "Touch" is a beautiful and touching tribute to the power of human connection as conveyed by physical touch. Writer/director Minh Duc Nguyen deserves major kudo for presenting a story that's both culturally authentic and universally relatable. This is a must-see for anyone who has a romantic streak.

"Touch" Q&A; me with writer/director Minh Duc Nguyen,

star Porter Lynn, and star Melinda Bennett

The Trip (UK) - C-

So much of this movie is built upon Steve Coogan and Rob Brydon's rambling, bantering, voice impressions and self-referential indulgence, that I imagine you would find it absolutely hilarious - if you are already a fan of Coogan, Brydon, and that particular style of comedy. I am not one, unfortunately, so this became a very long and very random sequence of footage to sit through for a few weak chuckles. The main story is thinner than Kate Moss and hollower than a tin can. The side points, including the numerous shots of beautiful food, are completely inconsequential and often pointless. By the time we got to watch Coogan and Brydon comparing their vocal ranges, I found myself playing a game in my head to see how many ways I can pronounce the word "insufferable."

SIFF Day 4 (May 22): A Great Mix

An awkward and lovelorn teenager; a gay love affair across party lines; a woman who chose to die on her own terms; an abandoned red couch; a tormented screenwriter stuck in a conspiracy theory. That was the wonderful mix that made up my rewarding SIFF experience today. I spent much of the day at Renton IKEA Performing Arts Center, a nice venue that offers a very comfortable viewing experience!

Submarine (UK) - B

A teenage boy struggles with everything from school bullies, parents' relationship (is one of them having an affair?), and of course girlfriend issues. It reminds me of "Rushmore," one of my favorite movies, except here the young man is less corky, more awkward, and dating a girl his own age. The dry humor works, and so do most of the metaphors and visual themes. I can't help feeling, however, that the film is trying too hard. As if the characters are not quirky enough inside, and have to act up to meet the demand of the story. At the end, I don't particularly feel like rooting for the little guy, or his relationship with the girlfriend.

Four More Years (Sweden) - B+

Screening again on May 23 & May 28

I've always said I want to see more gay love stories that are not so focused on being gay - i.e., love stories where the two people happen to be gay. Here we have one of those, and ironically I find myself wanting to see more about the "gay issues". After all, these two men are in politics, and one of them started off married to a woman. Maybe those are just less of a concern in Sweden than in the US? Anyway, "gay issues" aside, this is a love story that works, one that feels refreshingly authentic and warm without being overly cheesy (not counting the copious amount of cheese ingested by one of the characters). I wouldn't call it a romantic comedy or romantic drama, rather just a romantic story; although there are some very funny bits.

How to Die in Oregon (USA) (Docu) - A

This film will premiere on HBO on Thu May 26.

The first thing to clarify is that despite the opening sentence in the SIFF description, the Death With Dignity law is not about "euthanasia", which refers to physician-administered death and remains illegal. In "death with dignity", a person with a terminal diagnosis chooses to be prescribed a lethal medicine, and then chooses their own time to intake the medicine (which they must do on their own) and end their life, usually with loved ones and a non-profit volunteer on their side. Or, they could choose not to use it after all. Oregon was the first state to legalize such practice in 1994; Washington the second, in 2008. This documentary focuses on Cody Curtis, a bright and endearing woman in Oregon who chose to use the law, and the time she spent with her family in the final period of her life. More stories were filmed of people who used the law, but most of those didn't make it into the film (I wish more of them did). There is also a side story about Nancy Niedzielski, who fulfilled her late husband's final wish by advocating for the law's passing in Washington State.

me with Nancy Niedzielski

Death is never an easy topic, especially when it's so real - So this is a documentary where crying is not only normal, it is perhaps encouraged. But it is not dreary or tragic, as ultimately the film is about living. Director Peter Richardson did a marvelous job keeping the focus on Cody's emotions and her relationship with her family, and treating her story with the utmost respect. It is an important documentary that I highly encourage you to see, despite the reservations you may have in confronting the issue of death. After all, we all encounter death plenty of times in our lives, leading up to our own. Does it have to happen in the way that we currently assume based on modern medicine? Or could it be empowering to have more choices?

me with "Oregon" director Peter Richardson

Pinoy Sunday (Taiwan) - B

A seemingly trivial story about a red couch unfolds into a hilarious adventure for two migrant worker buddies, and then an unexpectedly touching lesson on life, friendship, and the haves vs. the have-nots. If this was an American or European film, I would expect there to be more to the story... A bigger ending or something. But this being an Asian film, such expectation proves to be unfitting. While I don't want to be too negative about such style difference, I do wish there was something more that came out of the story.

Everything Will Be Fine (Denmark) - B+

Screening again on May 27

A successful suspense thriller with a fine European sheen. A film that you might feel compelled to watch again after everything is revealed. It could be said that the resolution falls on the side of being manipulative. However, that is compensated by the depth of intrigue that opens up when you look back on the story in a new light.

So, there you go... 12 films in 3 days. A good start for my SIFF 2011.

SIFF Day 3 (May 21): LOVE Rocks

Today I braved the infamous folding chair seats an the Neptune, which is no longer a regular movie theater and currently undergoing renovation by its new owner, Seattle Theatre Group. Hopefully this is just growing pain, and the finished multi-purpose performance space will be wonderful.

Cameraman: The Life and Work of Jack Cardiff (UK) (Docu) - B+

For someone like me, who is not well-versed in classic cinema, "Cameraman" is certainly a treat and a history lesson. This documentary brings us on a journey of Jack Cardiff's incredible long career, focusing especially on his love of the craft and how he brought his artistic vision into his collaboration with illustrious directors and movie stars. I would've liked to see the film dive deeper into Cardiff's inner world and the person he was outside of his film work. Even so, this is quite an enlightening documentary for film lovers. Now if you'll excuse me, I need to go add some titles to my Netflix queue...

3 (Germany) - B

This being from the director of "Run Lola Run," you might expect emotional intensity, unusual circumstances, and clever split-screen sequences. There were some of those, but the real surprise was that the whole thing, while enjoyable, felt a little long and drawn-out. The core of the story, which finally emerged in the second half, felt like a soap opera, and rushed to a hasty conclusion. I wish this whole movie had been the first act, since I am quite curious what would happen next. Perhaps they were setting it up for a sequel?

Lope (Spain) - B

OK, correction. THIS is what's really like a soap opera. Since I'm not big on soap operas, I'll just say "it's good" and leave it as that. One question though: Were the women attracted to Lope because of his poems? Or his tall, handsome sexiness?

LOVE (USA) - B+

Without a doubt, "LOVE" is one of the most remarkable independent films you'll ever see. Started as a video project for the band Angels & Airwaves, it turned out to be a four-year-long passion project for first-time filmmaker William Eubank. In a DIY set that was literally constructed in a backyard and looked ten times more expensive than it should, Eubank meticulously constructed a haunting story of an astronaut who lost all contact with earth. Lead actor Gunner Wright truly carried the film with a stand-out performance that embodied his character's maddening experience. While I wish the film had developed more around the connections between the various story elements, it definitely left a strong impression on me. After seeing three other films with much higher budgets, it was this "small" film that inspired me the most today.

"LOVE" pre-screening introduction, fake astronauts and all

Me with "LOVE" director William Eubank

Me with "LOVE" lead actor Gunner Wright

SIFF Day 2 (May 20): "Where is the motivation?"

I should probably start with an explanation of my grade system.

A+: Among my all-time favorites (rare)

A: Superb, go see it for sure!

A-: Great, highly recommend

B+: Very good, definitely worth seeing

B: Good, recommended if you like the genre

B-: Flawed, but still OK

C+: Bad, with perhaps a few redeeming qualities

C: Spend the time on something else

D: Big mistake!

F: Scarred me for life (rare)

My general goal is to see films that are B or above, and minimize C-level or lower selections. Today, my first day at SIFF 2011 (I didn't go to opening night), didn't hit the bar but wasn't a total loss. Since I had evening plans, I caught the three daytime shows at Pacific Place.

Happy, Happy (Norway) - B-

I call this love-rectangle film "perfectly adequate and nothing more." In dealing with the age old topic of love and marriage, it didn't offer anything new or insightful. There are some things I find peculiar about the movie: The parents' relationship (or the lack of) with the kids, the plausibility of some plot points, and of course those songs... Overall though, it's nicely put together, and an OK distraction.

Ex (Hong Kong) - C

Hong Kong cinema has a knack for producing quirky, clever romantic stories. This, unfortunately, is not one of them. Everything looks good in this film, which successfully utilizes set design and cinematography to distinguish the numerous flashback scenes. The problem is that there is nothing underneath - no motivation, characterization or character development to speak of. By the end of it, I didn't know any of the characters better than I did at the beginning, nor did I have any revelation or resonance around the central theme of past relationships.

Interestingly, at this screening I ran into my friend Kathy Hsieh, writer and star of the popular Asian-American-romantic-comedy-episodic-play "Sex In Seattle." Kathy and I are in a writers' group together and, while waiting for this movie, I was working on character backstories for the play I am writing. After seeing the movie, Kathy and I agreed that it played as if the characters had no backstories whatsoever.

Venice (Poland) - B-

It's war time. People die. Children are forced to grow up fast despite their need for joy and fantasy. "Venice" features gorgeous, gorgeous cinematography and tight production, and it's easy to feel for these characters. That said, I once again felt somewhat detached from the story, which seemed like a common theme today. Was it me, or was it the movies? Also, I totally didn't understand the last scene. Even scarier, I didn't really care to understand it.

That was it for today. In the evening, I performed in a flash mob (whoo-hoo!!), then called it an early night so I can gear up for a full weekend ahead.

My Favorite Movies from 2009

A long over-due list of my favorite (narrative) movies from 2009! Disclaimers:

1. My criteria for "favorite" include: my connection with it on a personal level, my desire to see it again in the future, my likelihood of recommending it to others, and how strongly I feel that I want to make movies like it myself.

2. While I loved several documentaries from 2009, I've always had a hard time comparing documentaries against narrative films. So to simplify things, this list is for narrative films only.

3. There are still some big movies from 2009 that I haven't seen, so they are obviously absent from this list.

4. If you look back to my SIFF 2009 summary, you'll notice that my rankings for a few movies have changed. That's what happens over time...

Now onto the list:

1. Up in the Air
2. The Hurt Locker
3. (500) Days of Summer
4. Up
5. Avatar
6. Departures (2008 in Japan, 2009 in US)
7. A Single Man
8. Moon
9. Paper Heart
10. Precious

So there, my favorite (narrative) movies from 2009, as of today :-)

SIFF Final Day (25): Reviews

Unmistaken Child (Israel) (Doc) : B+

A fascinating documentation of a lengthy search for the reincarnation of a Buddhist Lama. While I wish some of the details were explained in more details, the unassuming approach (using no narrations) allowed me to appreciate the beauty of the story with little distraction. Also features great camera work and music.

Fifty Dead Men Walking (UK) : B+

OK, I'm going by some blind faith here, since I missed about half of the dialogue due to those darn Irish accents. Even so, I could clearly see that this is a first-rate action drama based on real events from the conflicts between the Brits and the IRA. Jim Sturgess ("Across the Universe", "21") further establishes himself as a young star to watch. With a natural intensity and charisma, he easily steals the movie from his costar, Sir Ben Kingsley. Rating may be adjusted after I get to see it again with captions on.

Amreeka (US) : B

Six years after the invasion of Iraq and with a new President in office, perhaps we are finally at a place to look back on that time and see the story from a different side. This film successfully conveys some of the challenges and struggles faced by Middle Eastern immigrants during that uncertain time, without getting too sentimental or preachy. The physical appearance of the main character and the family-centered story may remind some of "My Big Fat Greek Wedding," except this is a lot more serious and less chick-flicky. The first part of the story was filmed in Palestine, home country of writer-director Cherien Dabis.

OSS 117: Lost in Rio (France) : C+

A blatantly un-PC spy movie spoof, where the Bond-like agent 117 acts more like Austin Powers or the Pink Panther. While I did laugh along to many of the silly gags, it all got old really fast, and the whole experience was like eating a big Sundae with cheapo ice cream and dry, flavorless brownie base.

SIFF Day 24: Reviews

Today was a good day. For the first time during this festival, I saw four movies in a row that I rated B+ or higher! If only the last movie had continued the streak...

Hachiko: A Dog’s Story (US) : A- (website)

I've cried to "Hachiko" and I'm not ashamed! You could say this is a blatant tear-jerker and heart-string-tugger, yet I don't think it is manipulative. The emotional power comes from the simple story - which is based on true events - and the fact the the dog is just so darn cute. If you love dogs, and you don't mind that gooey emotional stuff, go see this movie. It will bring out the love in you.

Kimjongilia (France) (Doc) : A- (website)

With elements of an art collage and a performance piece, this is a stunning exposé of a country where extreme oppression and atrocity are still going on today. By the way, the title means "The Flower of Kim Jong-Il."

talhotblond (US) (Doc) : B+ (website)

There are two documentaries in this festival that focus on the social impact of the Internet. "We Live in Public" (my rating: A) was about a genius millionaire; "talhotblond" is about a few ordinary people. The story, however, is far from ordinary: A middle-aged man forms an online sexual relationship with an 18-year-old girl, by pretending that he is an 18-year-old Marine soldier. The relationship escalates, another young man gets involved, and it all leads to some tragic consequences. Some viewers apparently thought this is a fictional film; sadly, it is not. As a documentary, this film is skillfully put together and fluently paced.

The Spy and the Sparrow (US) : B+

A stylish, well-written, and wonderfully acted character drama.

Flame & Citron (Denmark) : B

At $9 million, this is the most expensive Danish production to date, and it does look appropriately expensive. So what's the story? Let's see... There was a lot of gunshots, many deaths, some conflicts and disagreements, suspicion, Nazis... At the end, some texts tell us the future fates of some characters. I didn't feel that I really cared.

SIFF Day 23: Reviews

American Primitive (US) : B+

During the post-film Q&A, we learned that this movie was almost entiredly based on the director's own family story. That level of authenticity adds to the gravity of the story, which is about two teenage sisters in the 1970s dealing with their father's homosexuality. The story is told from the viewpoint of older sister Madeline, and I have to say it's refreshing to have a teenager movie that's not about teenage rebellion, teenage depression, or teenagers doing very bad things! The movie is a little broad, a little cheesy, and secretly wholesome almost to a fault. Despite all that, it works, and I quickly felt bonded with Madeline's life and her various relationships. Although some people might have objections to the ending, I personally found it to be entirely satisfactory.

The Hills Run Red (US) (Horror) : B

I'm not a fan of horror movies, yet I somehow decided to watch this one. I enjoyed it, and got scared a lot without being completely spooked or scarred for life. In a genre that's so tired and overdone, this movie manages to be clever but not winky-winky. It's a throwback to old-fashioned horror and also has some good twists and turns, including a nice ending. Solid performances from the cast as well.

Youssou N'dour: I Bring What I Love (Senegal) (Doc) : B

A solid documentary on the power of music and the journey of a musician with grand aims. If you like African music then you would really appreciate this film.

Wonderful World (US) : B

No thanks to a title like "Wonderful World," I went into this movie with my cliche detector on high alert. And it did go off quite a bit... At the end though, I found myself caring about the main character (an expert performance from Matthew Broderick) and feeling connected to his journey. That's the sign of a good movie, right?

The Girl from Monaco (France) : C+

From the technical side, this is a perfectly fine film. The problem is, I simply couldn't buy into the motivations and decisions of the main characters. In the great words of Seth Meyers and Amy Poehler, "Really??" If the film had a different cast and they approached the characters differently, then I might have been able to like it.