LETTER FROM MASANJIA (2018) AAIFF 2018

The letter from Masanjia of the title was a letter from jailed activist Sun Yi who was imprisoned and being forced to make Halloween decorations for the Chinese government. Years later it was fund by Julie Keith when she took out the fake tombstone out of the box for a party. The letter told of the terrible conditions in the prison camp and asked that a human rights organization be contacted. Keith went to the media and the story exploded.

This film is the story what happened after the letter hit the media. Su Yi, back home after his release saw the story on the letter and went into hiding for fear of reprisals. He and the filmmakers, then decided to make a film about the prison camp and what happens there.

Not a film that is likely to be shown in China any time soon. LETTER FROM MASANJIA is a kick in the face. If you needed more proof that the Chinese are far from nice people, this film will give it since it lays out clearly how bad they are. I have had a pretty good idea how bad they were but LETTER still had me talking to the screen.

Not to put too fine a point on it, this is one of the best unvarnished looked at the terrible things the Chinese government are doing to their people. It’s a stark reminder of the evils of a country that represses its people. That President Trump is sucking up to these people is both shocking and expected.

A vital must see at AAIFF when it plays July 28th. For more information and tickets go here.

AAIFF ’18: Badass Beauty Queen

When she competed as Miss World Canada, Anastasia Lin’s talents were telling the truth and exposing injustice (she also plays piano). However, the leadership of her pageant did not share her talents. Since Lin criticized the Chinese government’s oppression of Tibet and Falun Gong practitioners, the Communist Party was determined to silence her—and the Miss World organization was happy to serve as their muzzle. Yet, the would-be censors were not match for Lin’s guts and grace. The rest of the Western world should heed the events documented in Theresa Kowall-Shipp’s Badass Beauty Queen: The Anastasia Lin Story, which screens during the 2018 Asian American International Film Festival in New York.

They have some cool beauty queens in Canada, but some absolutely rotten pageants. One of Lin’s predecessors was Miss World Canada 2003 Nazanin Afshin-Jam, who used her platform to speak out against Iranian human rights abuses and encouraged Lin to compete. On her second attempt, Lin won the Canadian crown, which was initially reported widely in China. Then they realized the beauty queen was in the habit of thinking for herself.

When Lin’s mother separated from her father, she took her daughter to Canada for the superior educational opportunities it offered. At that time, she largely believed Party propaganda, but when she read uncensored accounts of the Tiananmen Square massacre and the oppression of the Falun Gong, it opened her eyes. However, as she began raising human rights issues, the Party used her captive father in their attempts to control and punish her.

The Chinese government’s behavior towards Lin (a Canadian citizen) and her Chinese family is deplorable, but not the least bit surprising. However, what is shocking is the extent to which the Miss World pageant (chartered in the UK) fell in line behind their Chinese masters. When the Chinese government refused her entry to Sanya to compete in the global Miss World pageant, the organization never uttered a peep. When they supposedly let her compete in the finals the following year, the categorically refused her permission to speak to the media, even though plenty of her competitors were allowed to do interviews. Yet, in each case, the attempts to silence and bully Lin came back on China and the Miss World pageant, like a bad PR boomerang.

Thanks to her friends, Lin was able to capture an awful lot of the intimidation as it happened. It is particularly eye-opening to watch the Miss World officials betray the principles of free speech for the thirty pieces of silver they receive from their Chinese sponsors. Frankly, they are worse then prostitutes, who merely rent out their bodies. The Miss World pageant sold out our freedoms along with their dignity—and they sold them cheap (Miss World officials declined the filmmakers’ interview requests, presumably because they have nothing to say for themselves).

Indeed, many of the experts interviewed in the film argue Lin’s story is particularly important because it illustrates the international implications of China’s oppressive attempts to silence critics. Lin is a Canadian citizen, but they targeted her and her family because she exercised her Canadian right to free speech.

In many ways, Badass Beauty Queen is a timely wake-up call regarding the threat China poses to free society, but it is also a highly intimate and watchable film. Kowall-Shipp shrewdly recognized the personable, down-to-earth Lin was the film’s strongest asset, so she let her personality shine through loud and clear. It seems inconceivable that the Miss World organization would try so hard to keep her away from cameras and microphones, but such is the extent of their craven corruption.

This is an important film that will make you deeply concerned and maybe even a little afraid of China’s ability to reach its critics in the West. Yet, it will also make you want to hang out with Lin, who despite all she has been through, never takes herself too seriously. Very highly recommended, Badass Beauty Queen screens Saturday (7/28) at the Village East, with a post-screening Q&A scheduled with Lin herself, as part of this year’s AAIFF.

Invisible Hands (2018) AAIFF 2018

God bless the Asian American International Film Festival for bringing some of the most vital documentaries to New York. The programmers this year have had the good luck to find and the good sense to program some truly important films. Among them is INVISIBLE HANDS about child labor abuses across the globe.

Spanning the globe INVISIBLE HANDS shows us the cost of employing children as workers. Many are essentially slaves having been trafficked into becoming abused and poorly paid worker. Others have been sent by their parents who need the money they can earn. No matter how they end up in the work place the kid’s lives are altered almost always for the worse, thanks to the abuse hurled at them and the dangerous conditions they work in.

What most people don’t realize is just how many products either do or potentially do employ child workers in their manufacture. One of the examples they use is the listing of items with palm oil. It’s used in everything. So many products are named that you’ll be shocked that something you use could be the result of child labor. We see the products.

One of the strengths of the film is that it doesn’t shy away from naming names. Dow Chemicals is mentioned as a source of danger since often the insecticides and herbicides it manufactures but can’t sell in developed countries which  are used in places with no regulation thus posing a poisoning danger to the kids who use them. Apple’s checkered history is mentioned, as it their change in corporate policy which now requires those companies caught using child labor to pay their salary until they are old enough to legally work. And Nike is singled out as being one of the good companies, taking steps to assure no children are used and safe work places.

While there are times the film can seem by the book in its telling, the sheer weight of the facts overwhelms any concerns and leaves one rocked at the end.

A vital and important film and a must see at AAIFF.

INVISIBLE HANDS plays July 27th. For more information and tickets go here.

41st Asian American International Film Festival Announces Full Lineup

NEW YORK, JUNE 26, 2018 – The 41st Asian American International Film Festival (AAIFF41), presented by Asian CineVision and taking place July 25 – August 5 in New York City, announced its full film lineup today. The first and longest running Asian interest film festival in the country, AAIFF41 is proud to present the following program, which includes 13 narrative features, 10 documentary features, and 57 short films, representing over 14 countries.

OPENING NIGHT: SEARCHING

Directed by Aneesh Chaganty – USA
After David Kim (John Cho)’s 16-year-old daughter goes missing, a local investigation is opened and a detective (Debra Messing) is assigned to the case. But 37 hours later and without a single lead, David decides to search the one place no one has looked yet, where all secrets are kept today: his daughter’s laptop. In a hyper-modern thriller told via the technology devices we use every day to communicate, David must trace his daughter’s digital footprints before she disappears forever.

SEARCHING will screen on Wednesday, July 25 at 7:00pm at Village East Cinema with Director Aneesh Chaganty and Actor John Cho in attendance.

SPECIAL PRESENTATION: MEDITATION PARK

Directed by Mina Shum – Canada

Devoted wife and mother, 60-year-old Maria Wang’s life is altered when she discovers an orange thong in her husband’s pants pocket, forcing her to confront how powerless she has let herself become. Her efforts to find out the truth send her on an unexpected journey of liberation. Starring Cheng Pei-pei and Sandra Oh.

MEDITATION PARK will screen on Friday, July 27 at 8:00pm at Village East Cinema with Director and Writer Mina Shum in attendance.

CENTERPIECE: DEAD PIGS

Directed by Cathy Yan – China

A bumbling pig farmer, a feisty salon owner, a sensitive busboy, an ambitious expat architect, and a disenchanted rich girl converge and collide as thousands of dead pigs float down the river toward a rapidly modernizing Shanghai, China. Based on true events.

DEAD PIGS will screen on Saturday, July 28 at 7:00pm at Village East Cinema with Director and Writer Cathy Yan in attendance.

CENTERPIECE: LATE LIFE: THE CHIEN-MING WANG STORY

Directed by Frank W. Chen – USA

LATE LIFE: THE CHIEN-MING WANG STORY is a feature-length documentary following the latter years of Wang’s professional baseball career. A poignant account of his life as told by those closest to him, it examines his roles as starting pitcher for the New York Yankees, father, son, and international icon. This is the story of a man who is unwilling to give up and unable to let go.

LATE LIFE: THE CHIEN-MING WANG STORY will screen on Sunday, July 29 at 6:00pm at Village East Cinema with Chien-Ming Wang, Director Frank W. Chen, and Producer Brian Yang in attendance.

CLOSING NIGHT: ULAM: MAIN DISH

Directed by Alexandra Cuerdo – USA

In this tasty documentary, Director Alexandra Cuerdo tracks the rise of Filipino food from being “the underdog of Asian cuisines” to its new abode in the center of the American table.

ULAM: MAIN DISH will screen on Saturday, August 4 at 7:00pm at Asia Society with Director Alexandra Cuerdo and Producer Ray Cuerdo in attendance.

NARRATIVE FEATURES

1-2-3 (GASPING FOR AIR)

Directed by Carlo Obispo – Philippines

Luis is just an average teenage boy living in the idyllic fishing island of Silag. He is coming of age alongside his younger sister Lulu, who busies herself with amateur singing contests in hopes of becoming a star. When a talent manager offers Lulu an opportunity to undergo vocal coaching in Manila, Lulu eagerly takes the opportunity. After Lulu’s family suddenly loses contact with her, Luis sets out for Manila to find his sister, but what he finds there changes his life forever.

1-2-3 (GASPING FOR AIR) will screen on Thursday, July 26 at 8:00pm at Village East Cinema.

8 MINUTES AHEAD

Directed by Ben Hoskyn – Canada, Hong Kong

When their dying father makes a sudden change to his will, two half-brothers from different worlds—one a Hong Kong labourer, the other a Vancouver businessman—must decide what they value most: money or family.

8 MINUTES AHEAD will screen on Wednesday, August 1 at 6:00pm at Village East Cinema.

BITTER MELON

Directed by H.P. Mendoza – USA, Philippines

In this toothy “home for the holidays” remix, a Filipino American family reunites over a long Christmas weekend only to discover that something unusual is festering in their household. What starts out as a fun holiday reunion quickly warps into a darkly humorous crime scene as the family plots to kill one of their own.

Summer Festival Season kicks into overdrive

And now brief word on the next six weeks at Unseen Films.

Friday is the start of the 17th annual New York Asian Film Festival. Running over to July 15 the festival is running at both Lincoln Center and the SVA theaters down in Chelsea for maximum fun.

As in years past there will be no safety bar, air bag or tether so if you go you will be on your own. Any physical and psychological damage you incur is your own damn fault. Personally it’s a wonderful way to go.

Seriously the Unseen Family is looking to cover pretty much everything. Alec, Peter, JB and myself are going to be wading in and reporting from the trenches to let you know what is good, bad and crazy. Keep reading because we will be pumping out reviews.

We are currently all hold up in super-secret location going over many of the films so look for list of recommended titles Wednesday.

For more information and tickets go here.

After NYAFF ends Japan Cuts starts. Running from July 19-29 it is the first time in many years it is not overlapping NYAFF so there is no excuse for not going over to the Japan Society-other than the fact that even four weeks out several films have sold out

As with NYAFF we are going to wading into the madness and trying to cover as much as possible. As this posts I’ll have seen a good chunk of the films and I can say with certainty it is one of the best years I’ve encountered. There are a few great films playing that we’ll be discussing closer to time. Most amazingly there are no bad films. In every festival there is always a film or two that clunks, but if there is I haven’t encountered it yet.

We’ll have a recommended film piece and reviews closer to time. So keep reading.

For tickets and more information go here.

This year we are also going to cover the Asian American Film Festival which run July 25 to August 4. I’m still waiting for the release of the slate on Tuesday but based on past years this festival should be a great fest.

For more information go here.

Covering the second half of July ( it starts the 12th) and running into August (it ends the 1st) is the madness known as Fantasia. We will be once again covering it. Because we won’t have access until just as the festival starts I can’t tell you what we will be doing- only that we will have coverage- and a lot of it.

For more details on the festival and tickets go here.

And lastly the Kew Gardens Festival of Cinema returns for a second year starting August 3rd and running to the 12th. The have already announced their films and it looks to be better than last year. I know they are screening two great films MURDER MADE EASY and NOTHING CHANGES: ART FOR HANK’S SAKE. Based on what I see and what they showed last year it should be killer.

The full schedule is up and tickets are on sale so go buy them (Information is here)
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Now that you know how we are spending our summer- and where to find us. If you see me with my monster bag or any of the Unseen Films family come on over and say hey, we don’t bite

41st Asian American International Film Festival Announces Centerpiece and Closing Night Films

NEW YORK, JUNE 20, 2018 – The 41st Asian American International Film Festival (AAIFF41), presented by Asian CineVision, has announced that the festival will screen Cathy Yan’s Sundance breakout DEAD PIGS and the intimate profile LATE LIFE: THE CHIEN-MING WANG STORY as its Centerpiece selections. The festival will close with ULAM: MAIN DISH, a delicious film documenting the rise of Filipino cuisine across the United States. AAIFF41 will take place July 25 – August 5 in New York City.  

Recently tapped by Warner Bros. to helm its upcoming Harley Quinn-centric movie, Cathy Yan is one of the most exciting voices rising within the industry. In DEAD PIGS, her thoughtful exploration of modern China is marked with a distinctive blend of vibrant flair and dark humor. Weaving together the stories of everyday people met with an unbelievable situation, the tale of a country experiencing and struggling with significant cultural shifts comes to the fore.

A national icon, Chien-Ming Wang thrilled the people of Taiwan with his back-to-back 19-win seasons as part of the New York Yankees before an injury derailed his career. LATE LIFE: THE CHIEN-MING WANG STORY, directed by Frank W Chen, follows Wang as he attempts a major league comeback. In building a close portrait of an athlete whose personal highs and lows often informed the collective experience of an entire nation, the film illustrates the profound impact of a beloved athlete and the tenacity that fuels his difficult climb back to the top.

To learn about the unique characteristics and history of a cuisine is to gain further understanding of a culture and its identity. Directed by Alexandra Cuerdo and featuring interviews with several chefs and restaurateurs leading the Filipino food movement, ULAM: MAIN DISH examines the politics and challenges faced in establishing Filipino cuisine’s place on the American dining table. Fundamental to this story about food is one of immigration and community, which have long defined the Asian American experience.

With cultural touch points as varied as food, baseball, and a peculiar incident involving dead pigs, these selections represent only a small taste of the eclectic lineup that the Asian American International Film Festival strives to present each year to its audience. By telling rich stories with meticulous attention and craft, these films showcase how diverse the Asian and Asian American experience is and how imperative it is for the myriad of voices to have their chance to be heard and represented. The full lineup for AAIFF41 will be unveiled on June 26, 2018.  

Details on the Centerpiece and Closing Night screenings are as follows:

Centerpieces

DEAD PIGS

Q&A with Director Cathy Yan after the screening

Date: Saturday, July 28, 2018

Time: 7:00PM

Venue: Village East Cinema

LATE LIFE: THE CHIEN-MING WANG STORY

Q&A with Chien-Ming Wang after the screening

Date: Sunday, July 29, 2018

Time: 6:00PM

Venue: Village East Cinema

Closing Night

ULAM: MAIN DISH

Q&A with Director Alexandra Cuerdo and Producer Rey Cuerdo after the screening

Date: Saturday, August 4, 2018

Time: 7:00PM

Venue: Asia Society

Tickets are currently on pre-sale for Opening Night, Centerpiece, and Closing Night at aaiff.org/2018.The 41st Asian American International Film Festival will run July 25 – August 5 with full lineup for sale on Tuesday, June 26, 2018.

About the Asian American International Film Festival

The Asian American International Film Festival (AAIFF), presented by Asian CineVision, is the first and longest running festival in the country devoted to films by and about Asians and Asian Americans.

About Asian CineVision
Asian CineVision (ACV) is a 501(c)(3) nonprofit media arts organization devoted to the development, exhibition, promotion, and preservation of Asian and Asian American film and video.

Thank You

The 41st Asian American International Film Festival is made possible by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Nielsen, SAG-AFTRA, Cadillac House, and the Friends of ACV. Incubated at the Made in NY Media Center by IFP.