‘The Joy Luck Club,’ Groundbreaking Asian American Film, Is Getting a Sequel

CAPE (Coalition of Asian Pacifics in Entertainment) and Janet Yang Productions announced the second year of the Julia S. Gouw Short Film Challenge for Asian American and Pacific Islander Women and Non-Binary Filmmakers. The Challenge’s sophomore year kicks off with a Nov. 1st premiere, sponsored by AMC Theatres, where the four short films by year one’s winning filmmakers will be unveiled: 

Anna May Wong is getting her own quarter!

Patrick Frater Asia Bureau Chief Dollhouse Pictures, production company founded by Krew Boylan, Rose Byrne, Jessica Carrera, Shannon Murphy and Gracie Otto, is to produce “Devotion,” a book-to-film adaptation of Hannah Kent’s bestselling novel of the same title. The production is in partnership with production and finance firm Storyd.

EXCLUSIVE: Lionsgate Television is on board Irish-Belgian drama series co-production Northern Lights.

EJ Panaligan editor As part of a new initiative, the United States Mint will honor Anna May Wong, star of movies such as “Shanghai Express,” by making her the first Asian American featured on U.S. currency, placing her likeness on quarters with production starting Oct. 18. The printed quarter shows an image of Wong resting on her hand, serving as a tribute to what most consider the first Chinese American movie star. She was born in 1905 in Chinatown, Los Angeles and died in 1961 of a heart attack in her Santa Monica home. Wong started her career in the entertainment business at 14 years old, talking her way into her first movie role. In the following years, she rose to stardom as among the first Asian American stars in Hollywood and appeared in more than 50 films. Though the quarter seeks to pay tribute to her career in the film industry, it also acknowledges the difficulties that came her way trying to land meaningful roles as an Asian American actress during a time where racial discrimination and commonplace practices of putting white actors in “yellowface” to portray Asian characters was prevalent. In addition, Wong’s characters were often killed in the films she acted in, which she once joked about, saying that she had already “died a thousand deaths.”

Sports Interactive studio director Miles Jacobson OBE has shared that the studio would have been “more than happy” to feature Apple TV‘s Ted Lasso in Football Manager 23, though says EA “got there first” with FIFA 23.While discussing Football Manager 2023‘s approach to realism, Jacobson told NME that the Football Manager series has a history of embracing its lighter side, with a range of fictional or humourous crossovers available to play in prior games.“There used to be this show on Sky called Dream Team, featuring a team called Harchester United. Harchester United were in Football Manager,” shared Jacobson.

Patrick Frater Asia Bureau Chief Singapore has banned the release of “#LookAtMe,” a feature film by local director Ken Kwek. The InfoComm Media Development Authority said that the film exceeds film classification guidelines because it denigrates a religious community. Supposedly based in true events, the film depicts a man who is offended by a pastor who preaches against homosexuality, but whose behavior contradicts his teachings. The protagonist’s viral video about the aberrant priest lands him in jail, causing the man’s gay identical twin to fight for justice. “#LookAtMe,” premiered at the New York Asian Film Festival and local media report that the film has been selected for next month’s Singapore International Film Festival. But the IMDA ruling means that it cannot now be shown in any form in Singapore unless Kwek is successful with an appeal.

It’s getting chilly in here! While attending BravoCon in New York City, Lisa Barlow, Heather Gay, Meredith Marks, and Whitney Rose made it clear that their individual drama is not in the past just yet.

Patrick Frater Asia Bureau Chief Chinese filmmaker, Bi Gan, best-known for his single-take feature “Long Day’s Journey Into Night” has seen his “A Short Story” picked up by Kino Lorber for distribution in North America. A fairy tale that follows the relationship between man and cat, the film had its world premiere in competition at the 2022 Cannes Film Festival and now has its North American premiere in the Currents section of the New York Film Festival. Kino Lorber plans to qualify “A Short Story” for the 96th Academy Awards, showing it theatrically nationwide in early 2023 in tandem with a theatrical re-release of “Long Day’s Journey Into Night.” “Kino Lorber rarely acquires short films, but Bi Gan has packed more cinematic delight into the fifteen minutes of ‘A Short Story’ than many feature length films deliver in two hours,” said Kino Lorber SVP Wendy Lidell. The deal was brokered by Les Films du Losange.

A sequel to “The Joy Luck Club” is on its way.

EXCLUSIVE: Thirty years since the original film changed Asian and Asian American representation in cinema, a sequel to The Joy Luck Club is in development with author Amy Tan and Oscar winning screenwriter Ron Bass continuing from the former’s New York Times bestselling novel.

Manori Ravindran International Editor New York’s South Asian International Film Festival has appointed Chayan Sarkar as its new president. A filmmaker, entrepreneur and festival director, Sarkar is also the founder of the Indian International Film Festival of Queensland in Australia. He takes over from SAIFF founder Shilen Amin, who will step down as president, but will remain a member of the festival’s board of directors. Sarkar joins SAIFF as the festival enters its 19th year as a leading film festival in the U.S. for new cinema from India, Pakistan, Sri Lanka, Bangladesh and Nepal, and within the Indian diaspora. In recent years, SAIFF has become increasingly influential as a platform for South Asian cinema, both in the U.S. and internationally. Fourteen of India’s submissions for the international feature film Oscar have had their North American premieres at the festival.

Patrick Frater Asia Bureau Chief Rithy Panh, director of “Rice People” and “S21 The Khmer Rouge Killing Machine” is an icon of art-house cinema, at once political, unique, and charming. The iconic image may be another of his confections – a palatable work built on uncomfortable facts. On the incomplete evidence of a 50-minute on-stage dialog at the Busan International Film Festival on Sunday, Panh comes across as simultaneously contrarian and principled. A curmudgeonly veteran and yet a filmmaker still curious to learn. “If there were no Khmer Rouge maybe I would not be a filmmaker,” he said of the Communist insurgents, who won the Cambodian civil war in 1975 and whose brutality and atrocities he has spent a lifetime documenting and exposing.

Constance Wu has opened up about what happened that made her feel betrayed by the Asian-American community.