Search Results for: interracial relationship

2018 Film Forecast: Looking Into the Abyss

It’s time to look to the near future of film. Just like how the fashion industry has become an industry that relies on trend forecasting, let’s utilize the same concept when discussing what kind of mood the country will be in when we decide to sit in the theaters next year. From where I’m sitting, 2018 is going to be a year of contemplation, a year of gathering one’s bearings after a tumultuous 2017, and overall, a year of figuring out where we in the U.S. and, indeed, the world, are going if we keep on our path towards destruction.

COLOR STORY

The color story that seems to be going on in 2018 is muted blues and black disrupted by explosive, fiery colors–dark red, orange, and gold. My using the word “explosive” is meant in both a descriptive and literal sense; there is a very real sense of literal explosions in our daily life at this point in 2017, what with the threat of North Korea, the growing Cold War-esque tensions between the U.S. and Russia, and the country’s own political explosions with mounting evidence that showcases President Trump and the administration under the sway of Russian Prime Minister Vladimir Putin’s power.

The end of 2017 will see dark red come into play as we transition from this year into the next. Check out these Star Wars: The Last Jedi posters from this year:

 

Dark red is the dominant color, painting each of the characters to show that no matter what side you’re on, everyone’s going to be affected politically, socially, and personally by the upheaval that will happen in this next part of the saga.

All of this year’s colors are featured in The Justice League, which is coming out late 2017. The Zack Snyder-led DCU has been consistently moody, with blues, reds, oranges, and blacks making up the color palette. Perhaps it’s because of this big tentpole that we’ll see a lot more films take on a more Snyder-esque palette for their promotional material. What’s funny is that as much as people have derided Snyder for his bleak palette, 2018 will be the year that we as a culture actually feel it reflected in our collective mood. Maybe Snyder was onto something the whole time.

Red, gold, orange, neon blue and muted blues make their way into several of next year’s movies, both in their posters and in the trailers themselves. The throughline seems to be that humanity wants to find the balance between war and peace, technology and human experiences, existentialism and optimism. The importance of neon blue definitely shows itself in the more futuristic films; in these films, humanity on the precipice of extinction–or at the very least, fighting for some kind of co-existence with a more dominant species– is the main plot point.

ORANGE: Power, the unknown, disturbance

(featured: Proud Mary, Alpha, A Wrinkle in Time, Blade Runner: 2049)

NEON BLUE: Technology, mechanical coldness, human advancement (not always for the better)

(featured: Pacific Rim: Uprising, Ready Player One, Black Panther, Blade Runner: 2049)

RED AND BLACK: Ominous threat, fright, fight for survival

(featured: The Predator, Early Man, Blade Runner: 2049, Pacific Rim: Uprising)

NAVY AND MUTED BLUES: Contemplation, the dark side of technology, lurking threat, existentialism

(featured: Pacific Rim: Uprising, Blade Runner 2049, A Wrinkle in Time, Ready Player One)

GOLD AND BLACK: Personal strength, inner power, intelligence, new beginnings

(featured: Black Panther, A Wrinkle in Time, Blade Runner 2049, Alpha)

2018 MAJOR THEMES

Movie studios will still be making reboots, remakes, and sequels. However there seems to be an even clearer note of nostalgia with some of these films in 2018 aside from Hollywood trying their luck with any book or older film property.

Nostalgia, particularly nostalgia for the ’80s and ’90s (a time when a big chunk of the most catered to media demographic, young people 18-40, were kids or teenagers) will be apparent in 2018. Of course, Blade Runner: 2049 is a big send-up to the ’80s, but there’s also Ready Player One, which will have properties that span the ’80s and ’90s making cameo appearances (such as The Iron Giant, featured above). Other films such as Goosebumps: Horrorland, The Predator, and Jurassic World: Fallen Kingdom keep up the nostalgic ’80s and ’90s trend. Even horror is getting on the bandwagon with the resurgence of killer doll Chucky and Halloween‘s Mike Myers.

Other films, like Barbie, Peter Rabbit, S.C.O.O.B. (a new live-action iteration of Scooby-Doo) and Mary Poppins Returns show that childhood memories from any era are back in play. Overall, the nostalgic trend showcases the longing everyone has to go back to a time when they didn’t have to worry about the fate of the world every. single. day.

A big example of the ’80s trend in mainstream tentpoles is Thor Ragnarok. 

via GIPHY

Thor isn’t a legacy property the same way Barbie, Peter Rabbit, and Mary Poppins are. But, as was apparent in Guardians of the Galaxy Vol. 2, the late ’70s and ’80s are a big influence on Marvel’s intergalactic adventures. I mean, it’s not accident that Bruce Banner shows up wearing a shirt featuring Duran Duran’s RIO album cover, or that ’80s genre it boy Jeff Goldblum is part of the main cast. The bright colors, bombastic feel, and Valkyrie showing up with a fleet of warriors on winged horses smacks of 1970s and 1980s heavy metal, Philip Castle airbrush art, as well as 1980s candy-coated cartoons, which also delved into their share of metal inspiration via He-ManShe-Ra, and ThunderCats. Even the ship that is felled by the fireworks display behind Valkyrie (below) seems to pay homage to the spaceship iconography apparent with the band Electronic Light Orchestra, aka ELO.

(featured: scenes from Thor: Ragnaork, Jeff Goldblum in The Fly, Philip Castle airbrush artwork, ELO spaceship artwork)

In short, film studios want those of us in our 20s and 30s to feel like we did when we’d stay up to watch TGIF or when woke up early to watch Saturday morning cartoons. That feeling of nostalgia is going to be used as a buffer and distraction from the scary times we have yet to enter come 2018.

While we’re all pining for our worry-free childhoods, we’ll also be taking stock of our place in the universe and whether we can keep our planet going for another couple thousand years. Quite a few films will focus on the world at its bleakest and most depleted as well as the world when it was fresh and new. Alpha, starring Kodi Smit-McPhee, is set during the last part of the Ice Age, and Aardman’s Early Man will have its protagonist, a Bronze Age man (voiced by Eddie Redmayne), on a journey to save his beloved city.

On the extinction side of things, Ready Player One takes place in a near future in which Detroit is inundated with trailer-home skyscrapers called The Stacks and Mortal Engines, based on the popular book series by Philip Reeve, shows an earth that is desolate after the “Sixty Minute War,” with cities roaming Laputa-style, attacking and eating smaller cities in its path to replenish supplies. Extinction, which will feature Michael Peña, Mike Colter, and Lizzy Caplan, will see our current world invaded by aliens.

Sci-fi in 2018 will be almost exclusively about the world’s dire straits and how we humans can protect ourselves and the world from becoming extinct. One of Dwayne Johnson’s many projects next year, Rampage, is based on an ’80s video game (yes, nostalgia again), but it’ll be a more serious take on the game, which involved monsters wreaking havoc on cities. In the film, the monsters are animals (endangered or vulnerable animals, no less) that have been mutated by a mad scientist to destroy humanity. Pacific Rim: Uprising continues the story of a world that is constantly at war with underwater aliens, and Jurassic World: Fallen Kingdom takes the dinosaurs out of the park and into the metropolis, creating yet another version of Godzilla. (Also, don’t forget about the sequel to Godzilla, coming in 2019, which will continue the environmentally-conscious trend in sci-fi films).

So why do sci-fi films seem to have a lot of power when it comes to this environmental message? Well, one of the cornerstones of sci-fi film is to discuss our culpability in our own demise and whether we’ll have the smarts to right our wrongs. And while we’ve been fantasizing about aliens wiping us out, the real threat has been us all along–we’ve mutated as many animals and destroyed as much wildlife as any alien in sci-fi has. So the alien threat in most of these films has become nature itself. When there is actual science to back up your sci-fi–yes, the earth is heating up and we’re destroying the ecosystem at all levels and perhaps we’re making our own grave if we don’t invest in sustainable methods of living–then sci-fi’s environmental message becomes that much stronger.

(featured: Jurassic World: Fallen Kingdom, Pacific Rim: Uprising, Rampage)

It’s a little early, but I’ve been looking at the 2019 slate as it stands right now, and it would seem that some more optimistic films are on the horizon after 2018. Perhaps the film industry is banking on us getting out of our present political and social state (we will be getting closer to Trump’s end of his first–and hopefully final–term) and we’ll finally have reason to celebrate. Let’s hope so. But in 2018, we’ll be in the existentialist thick of figuring out how we’re going to keep this world spinning.

We’re at odds with Russia, and more and more people believe that the Russian government has injected itself into our politics and in the country’s presidency. More insidious is the probability that Trump is willingly under Putin’s thumb. We haven’t faced such times as these since President Nixon’s Watergate scandal and the Cold War, which lasted from the lasted from the late ’40s to the ’80s (again, there’s a hint of ’80s nostalgia there). So naturally, 2018 will see an increased focus on ’70s and ’80s politics, the Cold War, Nixon and Watergate, and new interpretations of those themes in present-day stories. Films such as Red Sparrow and Finding Steve McQueen are directly related to Russian/American politics, both in the 1970s and today. The interest in Russia has already in TV, with Channing Tatum’s Comrade Detective and HBO’s Fahrenheit 451 (I’ll get to TV in another post, so don’t worry, I’ll get to the TV trends too). That trend is also already coming to film with this September’s The Death of Stalin, chronicling the days after the Joseph Stalin’s death.

(featured: Red Sparrow book cover, The Death of Stalin, Finding Steve McQueen, The papers set photo)

The Papers is another film that’s about the 1970s (and late 1960s), but it’s handling public distrust of another kind. The Papers is all about the discovery of The Pentagon Papers, which showed that President Johnson lied to the public about the nature of the Vietnam War. While this isn’t directly about Nixon or Watergate, it’s still showing that the film tide is turning towards investigating a lack of trust in authority, particularly in a “post-truth” society.

Eventually, the focus that is beginning to be applied to Russia and the Cold War of the ’80s will also rope in North Korea as well. With North Korea becoming more and more of a nuclear threat each day, screenwriters will no doubt want to turn their attention towards the Hermit Kingdom, and studios will also probably want to capitalize on some of the properties that are already out that focus on nuclear threat. (A possible resurgence of Watchmen, perhaps? Just spit-balling here).

As you can see in this Oceans Eight first look image, women are going to be in power in all kinds of ways. From robbing folks to executing hits to owning stardom, women in unconventional and/or powerful roles will be all over 2018. Some of the films we’ll see next year are Battle Angel AlitaA Wrinkle in Time, Mary Poppins Returns, Mamma Mia: Here We Go Again!, The Nightingale, Red Sparrow, Tomb Raider, Crazy Rich Asians, Proud Mary, Widows, Ant Man and the Wasp, Life of the Party, The Papers, Winchester, The Girl in the Spider’s Web, Annihilation, X-Men: Dark Phoenix, and The Nutcracker and the Four Realms, to name a few.

(featured: Rosa Salazar cast in Alita: Battle Angel, Meryl Streep in The Papers, Taraji P. Henson in Proud Mary, Mindy Kaling, Oprah Winfrey and Reese Witherspoon in A Wrinkle in Time, Gina Rodriguez and Tessa Thompson in Annihilation, Alicia Vikander in Tomb Raider)

Several of the films mentioned have women of color at the forefront, and two such films, like Widows and Proud Mary have black women (Viola Davis and Taraji P. Henson, respectively) taking on roles that require their characters to exact deadly revenge, a micro-trend by itself. Alita: Battle Angel, based on a popular anime and manga about a cyborg brought back to life, stars Rosa Salazar amid a multicultural cast, and Crazy Rich Asians finally ends the drought of a lack of a pan-Asian presence on screen. Zazie Beetz (seen below) will become the first lady of Fox’s Deadpool franchise and, of course, all of that is rounded out by the introduction of Storm Reid in A Wrinkle in Time and the big screen debut of ballerina (or as I like to think of her, my ballerina Barbie come to life) Misty Copeland in The Nutcracker and the Four Realms. (As a huge Nutcracker fan, I can’t wait to see the film’s costumes. Here’s hoping they live up to my expectations.)

The tide has been turning for women in film, what with the outcry of several actresses about the lack of meaningful roles for women, the financial gain studios have seen from hiring women for action and bawdy comedy roles (such as Girls Trip, which became the highest-grossing live-action comedy in 2017), and movie-goers’ own demand for actresses getting equal treatment next to their male counterparts. This has led to the portrayal of women who aren’t just boobs and butts with mouths for male pleasure; Alicia Vikander’s Tomb Raider isn’t the busty woman of the past (who still kicked butt, by the way); she’s now a slimmed-down, more athletic-built woman who is on an existential search for herself as well as she finds out the truth about her father. Meryl Streep plays a newspaper titan who is out to get those Pentagon Papers. Gina Rodriguez and Tessa Thompson are scientists studying another world, with no men in sight.

But, as you can probably infer from the high gross from Girls Trip, that there’s also a racial element at play, too. It’s not just that women as a whole are getting more roles, it’s that there’s slowly more equity for women of color to be seated at the table as well. While women in general don’t have as much play as actors, white women still had the lion’s share of the roles. Technically, they still do, but thankfully, with directors of color like Ava DuVernay and actresses of color-turned-producers like Queen Latifah taking the reins, we’re finally beginning to see films starring actresses of color play in roles that were strictly relegated only to white actresses. Would we have seen Mindy Kaling and Oprah play interdimensional beings if it weren’t for another woman of color like DuVernay? I’m sure someone would have done it, but it wouldn’t have happened so soon, I’d think, and it might not have been done with the same intention of equity. Ditto for A Wrinkle in Time featuring an interracial relationship and what looks like a blended family (from the trailers, it’s seems like Storm’s character has a white brother, leading me to think that it’s her stepbrother).

Is Hollywood really “woke” by including more people of color and more of an LGBT focus in its movies? Let’s just say this is Hollywood’s first dip of its big toe in the water of being “woke.” However, this is still a huge push forward in 2018, with a bigger number of films showcasing either all-POC or mostly POC casts.

Of course, there’s Black Panther, Crazy Rich Asians and A Wrinkle in Time, but there’s also, Triple Threat, starring Tony Jaa, Michael Jai White, Tiger Chen and Uko Uwais, and The Predator, which stars Keegan-Michael Key, Sterling K. Brown, Trevante Rhodes, Olivia Munn and Edward James Olmos.

As mentioned before, Annihilation stars Gina Rodriguez and Tessa Thompson, and several movies, including Deadpool 2, Pacific Rim: Uprising, Skyscraper, Gringo, Creed 2, Mary Poppins Returns, the currently-untitled Han Solo Star Wars filmThe Alchemist, Aladdin and Jurassic Park: Fallen Kingdom will prominently feature POC characters. Just take a look at this compilation of actors:

(Featured: Lin-Manuel Miranda in Mary Poppins Returns, Tessa Thompson in Thor: Ragnarok, the cast of RampageJurassic World: Fallen Kingdom‘s B.D. Wong, Star Wars Han Solo film’s Donald Glover, J.A. Bayona in Jurassic Park: Fallen Kingdom, the cast of The Predator, the cast of Aquaman and director James Wan, Crazy Rich Asians‘ Henry Golding, Aladdin‘s Mena Massoud)

It also doesn’t hurt that there will be some big films directed by directors of color. DuVernay has been mentioned, and James Wan is in charge of Aquaman. Taika Waititi is behind Thor: Ragnarok and Steve McQueen is behind Widows. Jon M. Chu is bringing his directorial vision to Crazy Rich Asians.

There’s also Simon vs. the Homo-Sapien Agenda, which will be the live-action adaptation of a novel focusing on a high schooler taking coming out to his classmates in his own hands.

With all of this progress, there are still some indications Hollywood isn’t as woke as it’d like to be: at least two of the movies on the current slate feature Asian themes (specifically Japanese storytelling) without Japanese characters. As mentioned already, the Alita film adaptation will feature a multicultural cast with a non-Japanese POC lead, and Isle of Dogs will feature a mostly-white, if not all-white, cast (including Scarlett Johansson, whom people still haven’t forgiven for her role in Ghost in the Shell). We’ll see how these films are handled as we get closer to their releases. Also, Simon vs. the Homo-Sapien Agenda is currently the only high-profile film focusing on a gay character. We’ll see exactly how many LGBT characters and stories are a part of 2018, but it looks like Hollywood is, once again, lacking in this area. There’s also no clear word on how disabled people will be represented either. Seeing how disabled people have been represented this year, there’s no reason to think that 2018 will showcase anything different. But we can hope.

Of course, I haven’t mentioned every film coming out in 2018 (partially because not every film has released its promotional info) and, like with anything, there will be outliers that are hard to put into any category. But these are my general thoughts on 2018–an overview, if you will. What do you think 2018 holds for us? Give your thoughts below!

Please follow and like us:

New short film “Underneath the Grey” features love without boundaries

 

A couple of weeks ago, I posted quite a bit online about interracial relationships featuring black women and Asian men.  Even with the popularity of the Twitter conversation, I was still surprised when I was sent an opportunity to watch a new short film featuring a black-Asian couple!

Underneath the Grey, directed by Patrick Chen and starring Michael Rosete and Tia DeShazor, is a short film that has received tons of love from film festivals including the San Francisco Black Film Festival, the Denton Black Film Fest and the Urban Mediamaker Film Fest. Underneath the Grey has also been accepted to Asians on Film and the Queens World Film Fest.

Rosete and DeShazor in Underneath the Grey

I was able to watch the short film and I can tell you that once it’s out to the public, you’ll love it. As the two leads, Rosete and DeShazor have amazing chemistry and you instantly root for their characters’ relationship to work. While Rosete himself isn’t blind, he does play his character Ethan as a well-rounded character, not a one-dimensional caricature whose characterization is exclusively about his blindness. DeShazor’s Jessica exhibits the inner battle that plagues many who are trying to make it in the arts –is a person’s “worth” about their inner selves or their bank account? At one point in the film, Jessica feels Ethan won’t want her around because she’s gotten laid off from her job. But Ethan makes it clear to her that it doesn’t matter how much money she has–it was her soul that he fell in love with, not material possessions.  Overall, at the heart of the film is love, heart, and the message that time waits for no one, so make sure to share your life with people you hold dear. (A spoiler you’ll be happy to know: Ethan and Jessica do spend their lives together, as evidenced by their talk about getting their first grey hairs.)

So how’d this short film come about? I emailed Chen to learn more about the genesis of the film. He wrote that the inspiration came to him while he was learning more about film color grading and “wanted to create a black and white picture with a blind person as the main protagonist,” exploring how a person with blindness adapted their senses and imagination to a world catered towards those with sight.

“The opportunity presented itself with my involvement with Asian American Film Lab’s annual competition,” wrote Chen. “It challenges filmmakers to produce a five-minute film with a designated theme spanning three days.”

The resulting film changed from the original black and white idea, but the focus on a man who has lost his sight and his adaptation to his new life remained a core feature and, even better, a romance between him and an aspiring Broadway star was added, giving the film a driving storytelling force.

“I gathered up my research and team with the confidence of producing this unique perspective of a blind (Asian) man falling with a (Black) woman,” wrote Chen. “I wanted to have a diverse cast and a story that doesn’t focus on the separation of race, religion or gender; and in this scenario, being handicapped. I wanted the world to see that we are not just one color but also a beautiful blend of lives.”

Underneath The Grey is the discovery of inner beauty through self-acceptance. The challenge was not only producing quality work in 72 hours but to also have characters that felt lifelike and inseparable,” he wrote. “With the support from EnMaze Pictures and the opportunity given by the Asian Americans Film Lab, the production was given form. The 5-minute version was given praises by an audience of different ethnic groups. With this encouragement, I expanded the film to 15 mins with a small backstory and additional scenes of the characters’ relationship. I feel this story is now completed to further serve the audience’s fulfillment of these two wonderful characters.”

Thanks to Chen, I was able to ask Rosete and DeShazor some questions about their characters. I also asked Chen some questions via email about his directorial process.

What was it like to be a part of this short film?

Rosete: Patrick, Shannon, Tia, Joe, everyone involved was so professional, so easy to get along with, and open to each other’s opinions. It felt like a bunch of friends getting together to tell a story, a truly collaborative effort. There was a lot of support for each other, and a vibe that we were all there because this is what we love to do.

DeShazor: Being a part of this film was very exciting.  We definitely had some fun times on set. I don’t know if Patrick told you that  there was an original version that was shot in 24 hours.  That was a crazy, but everyone was completely committed to telling a beautiful story.  Patrick and his team are incredible to work with, so I enjoyed every moment of the process.

Rosete and DeShazor in Underneath the Grey

How did you get into character? Particularly, how did y’all develop the chemistry between your two characters (because it seemed like there was a genuine connection/friendship between y’all off-screen).

Rosete: Tia is such an open, loving and kind person; she was able to let those qualities shine through on this project, which made it very easy to connect with her. We spent a little bit of time before shooting and in between takes getting to know one another like you would in any job; I would find qualities in her that I could connect with. We both knew with this story that if there was no chemistry, it wouldn’t work, so I think we were both mindful of that throughout the process.

DeShazor: Regarding chemistry with Michael, he is a very generous actor.  We were able to meet beforehand and we used our time off camera to get to know each other, and we have a lot in common.  We also both know what it is like to experience love, be vulnerable and open to it.  We are both married now (to other people), and I think having the understanding of what true commitment feels like informed our performances. Also,  Patrick created a very safe environment where we were able to feel comfortable in more intimate moments.

What kind of preparation/research did you do to portray Ethan’s blindness?

Rosete:  I had a very limited amount of time to prepare, so I called various centers for the blind to ask questions, read articles about what it is to be blind or visually impaired, watched clips of various blind people sharing their experiences online, watched movies that portrayed blind characters, and observed people on the street. Patrick also provided a walking cane, which I would spend hours on using at home and in the street to practice.

Rosete and Joe Chan in Underneath the Grey

This short film is about how love can transcend all the barriers people think can limit love, such as race, disability, career choices (i.e. when Jessica felt like Ethan wouldn’t want her staying at his place because she’d been let go from the bar). Why do you think this message is something we as an audience need to always be reminded of?

Rosete: I don’t think we set out to make a statement about the power of love so much as telling a story of this particular man and woman’s journey together. But anytime we as audience members can be reminded about love, and the power of it—in all of its forms—I’m all for it. Everyone, intentionally or not, has put up barriers out of fear of the unknown or what is not fully understood. I think it’s important not to “look past” whatever we think these “barriers” are, but to acknowledge them, be open as to why we even see them as “barriers,” learn about them, and eventually free ourselves from seeing them as “barriers” at all.

DeShazor: This story is so relevant today because we always need to be reminded that love transcends abilities, careers and ethnicity.  We hear that a lot, but there are still so many barriers that make it difficult to really live out.  We receive so many messages, whether we are aware of them or not, about love, status and stability that make us fearful to take chances.  And it is our nature to choose the safest route, protecting ourselves from the heartbreak of falling in love, from the failure that could come from following our callings or from the isolation and ridicule that could come from choosing to be with someone who is different.  We will always need to see people from different backgrounds taking these risks.

What do you think of the positive response to the film?

Rosete: I am thrilled by the positive response; we set out to tell a story that we thought would be interesting, and did the project out of love for what we do, so to see people react positively to what we made is a great feeling.

DeShazor: Having made this film so long ago, I can honestly say that it is the gift that keeps on giving, and I am so thrilled when people connect with the story!♦

An extended version of Underneath the Grey will be released to the public Fall 2017. You can learn more about Underneath the Grey and Chen on Twitter and Facebook

Please follow and like us:

Tessa Thompson just cosigned this AM/BW short film!

There’s a new short film on the horizon, and it’s got the Tessa Thompson seal of approval.

There aren’t many details on this film, except that it’s spearheaded by Rebecca Theodore, national media critic and co-host of film podcast Cinema In Noir, fellow filmmaker Cynthia (@cynfinite) and is starring actor Jake Choi (Front CoverHawaii 5-0, Younger) and actor/model Melanie Ennis.

Clearly, there’s tons of chemistry from these pictures, but there are some other reasons to look forward to this film as well, starting with the big news of the day:

 

• The Tessa Thompson bump. This short film is already gathering its cult following, but now the film’s fanbase will get even bigger now that Thompson has cosigned it and wants the first available seat at the screening.

The entire exchange started when, in response to a conversation about the new season of The Bachelorette in which Blake, an Asian American contestant, gets shafted by Rachel, the series’ first black Bachelorette.

When she found out about Theodore’s film, she was all over it.

• It’s one of the few pieces of media about Asian men and black women in relationships. Rarely are these relationships showcased in the media (as well as other POC interracial relationships) in favor of the heavily prevalent black/white interracial relationship dynamic. However, these couples are out there and they deserve to be represented.

On a related note, this is one of the many reasons folks were excited about Into the Badlands (including me, as you can read here). This is also why so many people were upset about the Season 2 finale (you can read my thoughts at Black Girl Nerds).

• The leading lady is the size of the average woman. You’d think the “average woman” would be represented in the media more, seeing how most women nowadays are between sizes 14 to 16. But instead, actresses that are in these size ranges and upwards are usually billed as comic relief (case in point: the trailer for Girls Night). However, that’s not the case in this short film; Ennis, who is a size 14, is clearly the leading lady in control of her relationship destiny. I mean, Choi practically wants to eat her face off. It doesn’t get much more primal than that (and keep these pictures barely safe for work).

In short, I, like Thompson, will be on the lookout for this film. What do you think? Give your opinions in the comments section below!

Please follow and like us:

Fans sound off on their love for “Into the Badlands” couple Sunny and Veil

Daniel Wu as Sunny and Madeleine Mantock as Veil – Into the Badlands, Season 1, Epsiode 2. Patti Perret/AMC

Into the Badlands is coming into its second season March 19, and even though we’re psyched about the level of action and and suspense, we’re also focused on the family aspect of the show, which is worrying about how Sunny’s going to get back to his family, Veil and their newborn baby. Check out the trailer for an insight into what we can expect this season:

One of the elements I’ve loved the most about Into the Badlands is the relationship between Sunny and Veil, especially the backstory behind why Daniel Wu specifically wanted Sunny and Veil (Madeleine Mantock) to be an interracial Asian man/black woman relationship.

As he told Slate:

“…[I]t felt especially important to show an Asian male as having a sensual side. We all know the story of Romeo Must Die, how Jet Li is the movie’s hero, and the whole time you see this connection developing between him and Aaliyah, who played the female lead. And in the last scene, Li was supposed to kiss her, but when they showed the movie to test audiences, people said they found that disgusting. In the version they released, you just see them give each other a hug. So I don’t want to say this is groundbreaking, because we need to make this a success yet, but it’s cool that we were able to right that wrong too. It’s been 15 years since Romeo Must Die, and 40 years since Kung Fu. That’s just ridiculous. But it’s Hollywood, so I’ll take it.”

This point comes up a bit on this site, but Wu’s insistence on redoing Romeo Must Die in his own way is important, since the only other times (at least in my memory) that we’ve seen an interracial AM/BW relationship on TV was during Rodgers and Hammerstein’s Cinderella in 1997, with Brandy as the titular character and Paolo Montalban as the prince:

And 2009’s Flash Forward with John Cho as Demetri Noh (who I believe saw his own death??) and Gabrielle Union as his fiancee Zoey Andata:

And until the recent boom in shows featuring Asian American men like Fresh Off the Boat and Crazy Ex-Girlfriend, the most recent example of an Asian man as the love interest on a show was, once again, Cho in Selfie. 

In short, Into the Badlands is super important to the discussion of representation for interracial relationships, particularly interracial relationships between two non-white individuals and, of course, relationships between Asian men and African American women.

There’s a whole host of other things that makes Sunny and Veil great, so to list them all, I asked the good folks on Twitter why they love Sunny and Veil’s relationship.

Why do you love Sunny and Veil? Give your reasons in the comments section!

Please follow and like us:

Being Asian in Hollywood: Actors, directors, and creators talk representation

(Top row, from left) Sinakhone Keodara, Jodi Long, Asia Jackson, Kesav Wable. (Bottom row from left) Quentin Lee, Mandeep Sethi, Kunjue Li, Chris Tashima. (Photos: IMDB, Twitter, Kesavmwable.com)
(Top row, from left) Sinakhone Keodara, Jodi Long, Asia Jackson, Kesav Wable. (Bottom row from left) Quentin Lee, Mandeep Sethi, Kunjue Li, Chris Tashima. (Photos: IMDB, Twitter, Kesavmwable.com)

Representation in Hollywood is an issue by itself, but Asian representation in Hollywood is near non-existent. With the state of Hollywood being that black equates to “diversity” (despite there being more types of diversity out there than just being black) and Asian characters are still overrun with stereotypes or whitewashing, Asian actors and actresses have had a tough uphill battle in breaking through the glass ceiling.

JUST ADD COLOR is all about exploring how all types of diversity are showcased in Hollywood, so I thought it would be fantastic to have an ongoing series called POC in Hollywood. First up, the Asian American experience in Hollywood. In this longform piece, we’ll take a closer look at some of the issues and biases plaguing Asian creatives in Hollywood.

This is a longform, so if you’d like to jump to specific parts, here’s the table of contents:

Whiteness as the default

IMDB
IMDB

Historically, Hollywood has used Asian locales and people as props, while white characters are given layered characteristics. In short, white characters have been treated as humans, while everyone and everything else are only developed in stereotypes.

The most recent examples of this include The Birth of the Dragon, in which a white character is used to frame Bruce Lee’s biopic, Doctor Strange, which sees Tilda Swinton playing an Asian role and Benedict Cumberbatch as Doctor Strange, which is a white character used to exploit a stereotypical Asian mysticism, Ghost in the Shell, which uses Japanese culture to frame Scarlett Johansson as The Major and The Best Exotic Marigold Hotel series, which features India as a backdrop for white characters and Dev Patel playing a stereotypical Indian character.

“What’s particularly silly about The Birth of the Dragon is that they invented a fictional white character thinking that that would be what North American audience would want,” wrote Quentin Lee, The Unbidden director and founder of Margin Films in an email interview. “The filmmakers obviously fell flat on their faces. Not only it wasn’t historically accurate for the story, the film ended up insulting Bruce Lee and the audience who would support it. It was a creative misfire.”

Chris Tashima, an Academy-winning director for the 1998 short film Visas and Virtue and co-founder of Cedar Grove Productions, wrote that while he hasn’t seen The Birth of the Dragon yet, he found the basis of the film “ridiculous.”

“It’s understandable, why this has been the practice—being that traditionally, decision makers have been white males, and like anyone else, will want to see stories about themselves, and that audiences have traditionally been thought of as young, white males,” he wrote. “However, all of that is changing. It has been changing for a while, and it’s easy to see where it’s going: towards a diverse world. That’s an old practice and you’d think Hollywood would want to project, and put themselves on the cutting edge, and be more inclusive. It’s old, and tired, and more and more, I think audiences will want to see something different, something more truthful.”

“I think the overarching theme that runs through how Hollywood/the West represents POCs has to do with the ease with which they are able to strip POCs of agency over their own stories,” wrote Kesav Wable, Brooklyn-based actor, writer, 2011 HBO American Black Film Festival finalist for his short film, For Flow and Sundance lab short-listed screenwriter for a script about a Pakistani boxer wrongfully accused of planning a terror attack.

“This may come across as a bit exaggerated or radical, but I do believe that there is a link between white imperialist concepts such as ‘manifest destiny’ and ‘white man’s burden,’ which validated a lot of the literal takings from POCs that happened throughout earlier periods in civilized history, and now, in a media-hungry world where information, content, and stories are the most valuable currencies, there is an analogous “taking” of the narratives that POCs have lived through. By depicting POC characters through the lens of a white character, it enables white audiences to keep POCs’ stories at arm’s length, and to not completely empathize with those characters because they are not given the complete human dignity and complexity that is afforded the white character.”

“Perhaps, this, in a way, damps down the guilt that white audiences may feel if the POCs stories/circumstances have to do with the literal takings that were exacted by their ancestors. Or it’s just good for a cheap laugh. The truly insidious effect of POCs being usurped from their own narratives is that, even many of us POCs begin to start viewing things through a white lens and stop questioning whether these stories truly represent who we are because of how pervasive white-controlled media is.”

Wable used the upcoming film Happy End, which is about a bourgeois European family living amid the current refugee crisis. “Granted, I haven’t seen the film, so it’d be presumptive of me to conclude that refugees are not conferred with dignity/complexity as characters, but the very thought that French filmmakers think that shining a light on a bourgeois family with the refugee crisis as a ‘backdrop’ can be instructive about their world, speaks volumes about what it is white people are most interested in; themselves,” he wrote. “In this case, apparently, the context is a rueful rumination on their own blindness to the refugees’ plight. Somehow the irony of the very film’s existence as a manifestation of that blindness seems to be lost on them.”

Mandeep Sethi, filmmaker and emcee, also discussed about Hollywood’s tendencies to erase non-white people from their own stories. “I think centralizing POC stories around white characters is Hollywood’s way of taking a black or brown story and making it about white people,” he said. “Our culture is full of amazing stories and histories and Hollywood loves to cherry pick what they like but leave out the real nitty gritty including the people who created, interacted, and setup that story.”

Dev Patel in The Best Exotic Marigold Hotel. (Twentieth Century Fox/IMDB)
Dev Patel in The Best Exotic Marigold Hotel. (Twentieth Century Fox/IMDB)

Sinakhone Keodara, founder CEO of Asian Entertainment Television and host of Asian Entertainment Tonight, wrote that Hollywood’s penchant for using whiteness as a default is “a heinous tradition that is long overdue for a change.”

“Rather than trying to normalize Asian presence on screen to a wide American audience, Hollywood often goes the tired, well-worn and ‘safe’ route of using a white character in an attempt to more easily relate the character to a majority white American audience.  It’s cheap and unnecessary, because the proper and more effective way of relating a character to an audience is writing a character with emotional depth,” he said. “Ethnicity informs and colors our individual and community experiences, but emotion transcends ethnic boundaries.  With political correctness aside, Hollywood needs to stop engaging in a form of neo-emotional and neo-psychological colonialism against people of color, especially Asians by injecting whiteness into our stories.”

“I think that centralizing PoC stories around white characters is always going to happen as long as the people telling these stories are white,” wrote Asia Jackson, an actress, model and content creator. “What Hollywood needs is not only diversity on-camera, but to also make greater efforts to allow filmmakers of color to tell their own stories.”

Jodi Long, an actress who was a castmember of the first Asian American TV sitcom All-American Girl and member of the actors branch of Academy of Motion Picture Arts and Sciences, wrote that while whiteness as the default is the reality in Hollywood, a study shows a much needed change in film. “I just saw a new study The Inclusion Quotient done by the Geena Davis Institute on Gender in Media where the reality in terms of box office is changing, where women and diverse actors in lead roles are now performing extremely well,” she wrote. “Money talks in Hollywood but we still have to get beyond the implicit (unconscious) bias that factors into which projects get greenlit based on outmoded ways of thinking.”

Scarlett Johansson as The Major (Major Kusanagi) in Ghost in the Shell. (Paramount)
Scarlett Johansson as The Major (Major Kusanagi) in Ghost in the Shell. (Paramount)

Kunjue Li, Ripper Street actress and founder of China Dolls Productions Ltd., also addressed how money rules Hollywood, despite Hollywood not making the audience demand actually work for them financially. “I don’t think [whitewashing] is the right thing to do, and second of all, I don’t think it’s very commercial,” she said. “…[I]f they want to sell to Chinese audiences, which is the second biggest film market, then they need to tell a Chinese story…I think you have to tell a Chinese story [with] a Chinese cast.”

“If the film [was] an an American-Chinese co-production, [it would] actually help with the film itself because then it doesn’t have to go through the quota system…which means that only 30 percent of foreign films are allowed to show in China markets every year. If they do it as a co-production, then they get 1/3 of Chinese funding, but they have to have 1/3 of a Chinese [cast]. They’ll have one-third of Chinese funding, they’ll have domestic showings, they don’t have to go through the quota system, it’s much more feasible. Commercially, [whitewashing] doesn’t even work. I don’t understand why people keep doing that.”

Next: The pain of exoticism

Please follow and like us: