![]() That gave me a clear picture of where I didn’t want to go. It feels unencumbered by the idea of making a political statement.īecause everybody around me who was Asian or Chinese or Japanese wanted to make a film about how badly we were treated. A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.Īnd yet the film is adamant about not trying to offer a neat depiction of who or what the community is.‘Glass Onion’ and Rian Johnson: The director explains why he sold the “Knives Out” franchise to Netflix, and how he feels about its theatrical test.Best-Actress Battle Royal: A banner crop of leading ladies like Michelle Yeoh and Cate Blanchett rule the Oscars’ deepest and most dynamic race.Meet the Newer, Bolder Michelle Williams: Why she made the surprising choice to skip the supporting actress category and run for best actress.Kyle Buchanan is covering the films, personalities and events along the way. The Projectionist Chronicles the Awards Season The Oscars aren’t until March, but the campaigns have begun. There are the Hong Kong films (“Chinese Box”) and the New York films (“Smoke”) the near career-ending erotic picture (“The Center of the World”) the pure Hollywood period (“Maid in Manhattan”) and the return to his culturally specific indie roots (“Coming Home Again”). One would be hard-pressed to find any filmmaker who not only daringly chronicled Chinese life in a time when it was unthinkable in American cinema, but also parlayed all that into one of the more eclectic careers in Hollywood, that includes two entries (“Chan” and “The Joy Luck Club”) on the National Film Registry. He’s celebrating two retrospectives, in Berkeley and Los Angeles, a restored director’s cut of his audaciously experimental “Life Is Cheap … But Toilet Paper Is Expensive” (1989), and the Criterion Collection releases of “Chan” and “Dim Sum.” On the 40th anniversary of “Chan Is Missing,” Wang, sharply dressed and sprightly at 73, is experiencing a belated moment of wider recognition. When it comes to Asian American directors, “none of the filmmakers have really dug in to say these are our own stories and these stories are on one level universal, another level, very specific to our culture,” he said. And yet, the elder auteur, whose journey since that breakthrough took him across art-house avenues into Hollywood studios and back out, is still unsatisfied. Now, things are a little different - for Wang’s own legacy, for a new generation of Asian American filmmakers, for the state of movies. We had spoken five years earlier, when he expressed dismay at how little had changed in Hollywood and the indie scene since the 1982 release of “Chan Is Missing,” his seminal neo-noir that was the first Asian American film in modern cinema to gain widespread distribution. ![]() Sitting in a booth in a dive bar in San Francisco’s Chinatown, the same one where he shot scenes for his 1985 gem, “Dim Sum: A Little Bit of Heart,” Wayne Wang was still frustrated.
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