In Minari, Yuh-Jung Youn Shows Us America Through the Eyes of a Korean Elder
“Grandma smells like Korea!” seven-year-old David Yi (Alan Kim) complains in the film, Minari, released on February 12. Set in the hardscrabble Ozarks of…
Critical articles, commentaries, analyses.
“Grandma smells like Korea!” seven-year-old David Yi (Alan Kim) complains in the film, Minari, released on February 12. Set in the hardscrabble Ozarks of…
“BIPOC communities are indelibly intertwined in the American experience. If more of these stories are made and shared with the American public, then we can help to dispel the divisive rhetoric that seeks to keep us apart.”
“What I care about is bringing empathy to us, so all my films have a very strong Asian element.”
“I learned a lot about the power of centering one’s voice and experience in a work. And also about how hard it can be to do so.”
Learn more about new Academy member, Don Young, and how he’s seen the documentary film industry change over the past 25 years.
“More than ever she stands in for all of the women who were denied an opportunity to practice their craft in an industry that absolutely could not see the value that added what she was giving to storytelling and film.”
In a final look back at SFIAAFF 2010, we take this moment to catch up with the movers and shakers of this industry to recognize not only the work they have already done but to anticipate all of the exciting works to come.
SFIAAFF intern Donna Foronda heads out to this year’s Frameline Film Festival screening of SEX IN AN EPIDEMIC.
I got a chance last year to talk with Professor Celine Parennas Shimizu in an interview about a range of topics, from her current research at Stanford to her most recent film, BIRTHRIGHT.
Beautiful memories stand out from a perfect weekend full of memorable films, friends, and events.
TODAY’S SPECIAL was on the menu, and as director David Kaplan said, the subtle message is that “today is special”. Awww, that’s as sweet as the desserts at the Opening Night Gala.
Gerry Balasta’s debut film THE MOUNTAIN THIEF uses a docu-fictional approach— rather than rely on professional actors, Balasta placed the task of dramatizing slum life into the hands of those who know it best: the actual residents of Patayas, one of the Philippines’ largest dumpsite “towns.”