FEATURE FILM PROGRAMS

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Dirty Laundry

Directed by Richard Fung

1996 , 30 minutes

A fictionalized imagining of a magazine writer’s train trip across Canada parallels an archival exploration of sexuality and its historical legibility in 1800s Chinese Canadian communities.

More About Richard Fung

Part of the Richard Fung Program (with Sea in the Blood )

Presented with Tran T. Kim-Trang's Koré (1994)

Image courtesy of the Video Data Bank at the School of Art Institute of Chicago, vdb.org

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Fresh Kill

Directed by Shu Lea Cheang

1994, 80 minutes

The first feature film from artist and digital pioneer Shu Lea Cheang brings her radical experimental vision to a viciously political and campy narrative of two young lesbian parents who fight against environmental racism in the form of radioactive fish lips.

WATCH TRAILER

 

Presented with Amit Desai's Twitch (1999)

Image courtesy of the Video Data Bank at the School of Art Institute of Chicago, vdb.org

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Kelly Loves Tony

Directed by Spencer Nakasako

1998, 58 minutes

In this captivating take on documentary co-creation, Kelly Saeturn and her boyfriend, Tony Saelio, both refugees from Laos who grew up in the US, record a year and a half of their own lives as Kelly balances her hopes to attend college, a pregnancy, and her relationship with Tony, an ex-con trying to reform.

WATCH TEASER

 

Presented with Helen Lee's Sally's Beauty Spot (1990)

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Sea in the Blood

Directed by Richard Fung

2000, 26 minutes

This personal documentary traces two relationships, two long journeys, and two illnesses in the filmmaker’s life: first with his late sister Nan to diagnose a rare blood disorder, and second with his lover Tim, who has lived with AIDS for 15 years.

Interview with Richard Fung

 

Part of the Richard Fung Program (with Dirty Laundry)

Presented with Tran T. Kim-Trang's Koré (1994)

Image courtesy of the Video Data Bank at the School of Art Institute of Chicago, vdb.org

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Some Divine Wind

Directed by Roddy Bogawa

1991, 72 minutes

A splintering of narrative structure mixed with found and created material depict the life of Ben, a young multiracial man is safely ensconced in his life with a white girlfriend, as he discovers that his father was part of a bombing mission that destroyed his Japanese mother’s village and killed her entire family during World War II.

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Strawberry Fields

Directed by Rea Tajiri

1997, 90 minutes

Set in the 1970s, a teenage Japanese American pyro runs away from her repressed and overbearing mother on a cross-country road trip that ends at the site of a World War II internment camp, rendering corporeal seen and unseen ghosts.

Interview with Rea Tajiri

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Terminal USA

Directed by Jon Moritsugu

1993, 54 minutes

One family’s shenanigans, full of playfully twisted stereotypes, drug addictions, and illicit affairs, grow ever more violent in this comedic satire, which was controversially created for public broadcast.

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Presented with Jon Moritsugu's Mommy Mommy Where's My Brain (1986)

THE VAULT

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Cop Strings

Directed by Ho Tam

1998 , 6 minutes

On a trip to Hong Kong, I was cruised by this attractive young man at the airport who turned out to be a policeman and a musician. As a result, I asked him to do a performance for me and this was how this tape got made. Mixing the old and the new, the public and the personal, we learn unexpected details about a person and could only imagine the rest.

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Koré

Directed by T. Kim-Tran Trang

1994, 17 minutes

By focusing on the blindfold, Koré explores the eye as purveyor of desire, sexual fear, and the fantasy of blindness. An alternative sexuality is founded in touch-based (feminine?) pleasure as opposed to a vision-based (masculine?) pleasure. An examination of institutional blindspots towards women, and people of color, concerning AIDS expands on the issue of vision, visibility and the disease.

Image courtesy of the Video Data Bank at the School of Art Institute of Chicago, vdb.org

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Four or Five Accidents, One June. . .

Directed by Roddy Bogawa

1989, 25 minutes

A literal/metaphorical 'map' of anecdotes, jump cut interviews, incorrect 'talking-head' shots, hit-and-miss quotations, as the film follows the route of a delivery driver turned narrator, encountering various characters along the way such as the glaucoma-stricken elderly owner of a bed and breakfast and a doctor's office receptionist who steals drugs for her father-a Hollywood producer.

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Little Murders/Obits

Directed by Rea Tajiri

1998, 19 minutes

A darkly comic musical about the mystery of death, communication of spirits, and the redemption that comes from knowing the truth. A violent father, Frank (Charles Chun) returns to earth and wanders the streets in a child's wagon searching for clues to the cause of his death through his daughter, Angie (Angie Suh), a homicide detective. When the two finally collide on a downtown street late one night, they are transported to another dimension. The two communicate through dance and music finally unraveling the cause of their separation and grief.

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Mommy Mommy Where's My Brain

Directed by Jon Moritsugu

1986, 9 minutes

Part AC/DC, part Jacques Derrida. An experimental film made as a response to the critical theory aspects of the filmmakers degree and academic film criticism.

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Monterey's Boat People

Directed/Produced by Vincent DiGirolamo & Spencer Nakasako

1982, 29 minutes

This film closely examines the tension between the established Italian fishing community and the recently arrived Vietnamese fishermen in California’s Monterey Bay peninsula. Monterey's Boat People documents a specific facet of anti-Asian sentiment and the conflicts faced by an industry that is also fighting for survival.​

Sally's Beauty Spot

Directed by Helen Lee

1990, 12 minutes

A large black mole above an Asian woman's breast serves as a metaphor for cultural and racial difference in this engaging experimental film. Off-screen women's voices and scenes from The World of Suzie Wong parallel and counterpoint Sally's own interracial relationships and emerging self-awareness. A provocative and stylish meditation on Asian femininity.

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Suprematist Kapital

Directed by Yin-Ju Chen & James T. Hong

2006, 5 minutes

A Symbolic History of Kapital.
Inspired by Kasimir Malevich's minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod's, etc. Where once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil.

Twitch

Directed by Amit Desai

1999, 5 minutes

"Come hear the legend of Zulu George". Twitch is a mythic meditation on stasis, movement, and ethnographic filmmaking.

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