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The first and longest-running Asian American film festival in the U.S. is back for its 43rd year—and for the first time, it’s being hosted entirely online, allowing audiences to access and explore cinema even more than before.
“With our program, we work to not only amplify the voices of the API [Asian and Pacific Islander] community, but also to bring people together and motivate social change,” John Woo, executive director of the Asian American International Film Festival (AAIFF), tells Backstage.
As part of increasing ease of access to audiences, programming manager Wynton Wong adds, “We’ve also made all of our non-film screening programs available worldwide through streaming on Twitch and Facebook. This means that whether you’re participating in the festival or not, you’ll be able to ask questions of some of our industry professionals in the comfort of your home.”
Backstage asked Woo and Wong about this year’s slate of film programming and why, even virtually, bringing the best of Asian American cinema into one place is more important than ever. The 43rd AAIFF runs Oct. 1–11.
Going back to its founding, what was the AAIFF’s purpose, mission, and outlook?
John Woo: The Asian American International Film Festival premiered in the summer of 1978 in New York City, answering a growing need for social understanding, cultural diversity in American life, and independent cinema. It became the first festival in the U.S. to showcase moving-image work by artists of Asian descent. Forty-three years later, the AAIFF has grown to include films and videos from more than 30 countries, a variety of topical panels, one-on-one conversations, workshops, industry mixers, staged reading, receptions, and more.
We are grateful to have had so many wonderful works joining us along the way. Every year, we proudly present titles that reimagine the representation of Asian diaspora experience and expand the space of API storytellers. In doing that, we also hope to lay the groundwork for emerging storytellers and nurture a sustainable community of independent Asian, Asian diaspora, and Pacific Islander cinema.
What’s the selection and programming process like? What films do you consider, and what do you look for?
Wynton Wong: Challenging and innovative submissions catch our attention. When evaluating submissions, we are checking the normal boxes of technical proficiency (audio is so important) as well as narrative consistency. In particular for us, we are looking for stories that dive deeper into identity, and in particular, the unique multi-cultural identity of being [part of the] Asian diaspora. This doesn’t mean only dark, dramatic explorations, but also joyful, funny, and romantic moments. We’d love to see more genre work coming from the community as well.
While we started as a film festival, much of our programming aims to meet Asian diaspora storytellers wherever they are. Starting last year, we’ve included episodic programming to showcase pilots and web series. We’ve also added digital and VR as an official category to better explore non-traditional storytelling formats. We’re excited to dip our toes in podcasting and video games and will continue to expand to wherever storytelling goes.
For filmmakers, what are the potential benefits of submitting to the AAIFF? Are there specific success stories that come to mind?
Woo: AAIFF largely bridges Asian American and Asian independent storytellers with U.S. industry market makers. Recent breakthroughs include “Lingua Franca,” directed by Isabel Sandoval, “Yellow Rose,” directed by Diane Paragas, “Ms. Purple” and “Gook,” directed by Justin Chon, “Searching,” directed by Aneesh Chaganty, and “Spa Night” by Andrew Ahn. All received commercial distribution after AAIFF participation and screenings.
Are there other resources or programming filmmakers should know about?
Wong: We are always looking for other opportunities to showcase Asian and Asian diaspora film. Accepted filmmakers are eligible to participate in our National Tour program, which helps package films and corresponding educational materials for exhibition at theaters, schools, community centers, and employee resource groups around the globe.
We have filmmaking workshops and networking events throughout the year to continue helping and developing filmmakers in New York City, along with screenings and other discussion-based events for our film-loving community. Something that is extremely important to us is the preservation and restoration of older independent Asian American film. We’ve started the process of digitally preserving Shu Lea Cheang’s directorial debut, “Fresh Kill,” and are excited to be able to safely share the film with more people.
What’s your advice for getting the most out of the AAIFF or something you wish more people knew?
Woo: In “normal” times, artists attending the festival are encouraged to engage with other filmmakers, industry professionals, press, unions and guilds, and our cinephile audiences. Despite the unprecedented conditions due to the pandemic, I still encourage filmmakers to attend networking events, live performances, panels and workshops, exclusive talkbacks, and masterclasses—all available online at no charge.
Something I wish people knew, is with over 600 submissions in 2020 and the AAIFF43 pivot to streaming platforms, fewer films were able to be programmed. But we wanted to still bring the films to our audiences!
Wong: We’re able to do more and deeper Q&A sessions with filmmakers around the world, and I would highly recommend checking them out after you watch a film.... Don’t be afraid to use the chat box to let us know what you think and discuss things with fellow festival attendees.
Something new this year to benefit API businesses is our Pop-Up Market, stocked with API artists and small business owners. It’s a great way to support local and small businesses while buying for yourself or maybe getting ahead [on] Christmas shopping. We also have curated restaurant lists for our local NYC attendees so that you can create a dinner and movie experience in your own home.
What’s your best craft or professional advice for early-career filmmakers?
Woo: Nothing is more valuable, informative, or irrevocable than watching, critiquing, discussing movies. If you have a certain skill—writing, directing, acting, technology, production design, etc.—be available to join a panel, workshop, do interviews, [and] contribute articles. With most Q&As and talkbacks nowadays being hosted online, many more opportunities have emerged for storytellers to network.
Wong: Don’t pigeonhole yourself. Being Asian American/diaspora is more than tiger parents and being bullied for our lunches. We are rich, complicated individuals, not a monolith; explore the nooks and crannies that are specific and unique to yourself. Don’t be afraid. We and the audience are ready. Challenge us.
What are your favorite films that you’ve seen recently?
Woo: My most recent favorite film is “Long Day’s Journey Into Night” directed by Bi Gan, a stunning, noirish search movie wandering through the underside of urban China.
Wong: Most of my recent watches have been festival submissions, which are all great! In particular, I really enjoyed Ray Yeung’s “Twilight’s Kiss (Suk Suk),” which is a lovely, quiet film about older gay men in Hong Kong. It’s a beautiful peek into falling in love at an older age and navigating the complexities of being queer in Hong Kong and East Asia in general.
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