Hyphen magazine - Asian American arts, culture, and politics

Originally conceived as a venue for independent filmmakers and storytellers, the Sundance Film Festival has evolved into a major celebrity extravaganza. Gifting suites and paparazzi pads are common there at what used to be a haven for the low budgeted and beyond the fringe. There has been a vocal outcry against this, some would say, devolution. Others don’t object, whether out of futility or fulfillment of once-suppressed desires.

Could the Asian American independent film world be in the throes of Borg-ification by the Hollywood machine?

The San Diego Asian Film Festival opened this week, and the Hollywood-focused panels seem to be getting the most attention.

On Sunday, Step Up 3D director Jon M. Chu moderates the panel discussion Asians in Hollywood with Harry Shum Jr (Glee), Ellen Wong (Scott Pilgrim vs. the World), C.S. Lee (Dexter), Aaron Yoo (Disturbia) and Daniel Dae Kim (Lost). That is followed by the Interpretations panel which will screen the winning submissions from the hugely popular Interpretations competition presented by You Offend Me, You Offend My Family. Scheduled to appear are director Justin Lin (Better Luck Tomorrow, Fast & Furious: Tokyo Drift), writer David Henry Hwang (Tony Award winner,  M. Butterfly), writer Iris Yamashita (Academy Award nominee, Letters From Iwo Jima), actor Roger Fan (Better Luck Tomorrow), and actor Danny Pudi (Community).

Additionally the founders of CAPE, the Coalition of Asian Pacifics in Entertainment, will be honored -- Wenda Fong, Fritz Friedman, and Chris Lee. The Hollywood-based CAPE has become a powerhouse for filmmaker networking and fostering API talent in recent years.

With these events as well as the exclusive CAPE mixer prior to the Festival Gala on Saturday, there’s a firm Hollywood connection.

As a matter of fact, Interpretations encouraged over 200 independent filmmakers to create a 3-min short film. Review by Hollywood and prestigious film industry players only added to the enticement of online exposure and the $3000 top prize. (I thought I heard that Hollywood pitch meetings were to be set up for the five top winners, but I’m not sure if that's the case.)

Facebook announcements abound from LA folks posting that they’ll be trekking to San Diego only for the weekend activities, but I've not heard from any of the festival’s filmmakers complaining about the Hollywood hive encroachment. If indeed there is one.

If Hollywood influence is thought to demean artistry and discard those on the fringe, it certainly isn’t evident at the festival. SDAFF has firmly embedded itself in the hearts of many since its inception in 2000. This year the festival highlights films on interracial and transcontinental adoption as well as promotes civic responsibility and democratic participation through a campaign called REEL IN THE VOTE, showcasing Public Service Announcements that were created by artists to encourage Asian Americans to vote.

Executive Director Lee Ann Kim explains that the honoring of CAPE is consistent with the festival’s goals: “Long before the SDAFF was even an idea, CAPE was already mentoring Asian Pacific Americans to diversify the field of entertainment. CAPE's influence and commitment to equal representation in Hollywood deserve recognition.”

Several major studios have invested heavily on importing Asian filmmakers and stories. Wouldn’t that be a natural evolution when we create our own work and tell our own stories—that people will come, whether from Hollywood, from our own community, or beyond? Just because the content or people involved are API doesn’t mean it’s comprehensible or relatable only to community audiences.

A goal of these festivals such as ID Film Fest and SDAFF is to encourage people to do what they love to do, without any stigma attached, regardless of affiliation -- or collective.