Now Playing in the Heartland

Chicago's Asian American Showcase has a personality all its own

Star Power: Casey (Keiki Agena) and Slim (Darion Basco) wax philosophical in One Hundred Percent a film from I Can Make It Myself Productions.

BY OLIVER WANG

Just as San Francisco concludes its 16th Asian American film festival, Chicago is scrambling to put on its third and still-growing festival. The Annual Asian American Showcase is one of the youngest festivals, but it's already made a reputation for itself as one of the most intimate and enjoyable events of its kind among film aficionados.

While the showcase isn't aimed exclusively at youth, the emphasis is clearly on the next generation of Asian American artists. Opening on March 21 and ending March 28, the showcase mixes film, music and literature in a multimedia mélange. It's a remarkable feat for an organization that's only been in existence a handful of years.

Showcase organizer Ben Kim knows the size and scope of Chicago's festival is modest compared to similar events in cities like New York, Los Angeles and San Francisco, but it is this characteristic that helps distinguish the Chicago showcase, according to Kim.

"Operationally, we're still low-budget and trying hard to get some sponsorship and funding," admits Kim. "Artistically, however, we're still tracking down and bringing in the best cutting-edge new Asian American films, and solidifying our reputation as the best Asian American film festival in the Midwest."

As compelling evidence, the showcase opens with One Hundred Percent, a film by Eric Koyanagi, which Kim claims, "marshals the most Asian American star power since 'The Joy Luck Club.'" Starring Garrett Wang (Star Trek: Voyager), Dustin Nguyen (21 Jump Street), Stan Egi (Rising Sun), Lindsay Price (Bold and the Beautiful) and Tamyln Tomita (Joy Luck Club and Karate Kid II), the film brings together some of Asian America's most popular actors and actresses in a story about the quest for love and fame in Los Angeles.

The feature highlight of the following week is Tim Chey's provocative Fakin' Da Funk, a drama-comedy of a Chinese American man (played by Dante Brasco) who grows up in a black family, but finds his cultural identity challenged when he moves to South Central Los Angeles. Also starring Margaret Cho (All American Girl), Pam Grier (Jackie Brown) and rapper Tone Loc, Fakin' Da Funk, along with One Hundred Percent, signals an important step in Asian American cinematic evolution, Kim says. Rather than be confined to just art-house exposure, Kim suggests that, 'One Hundred Percent' and 'Fakin' Da Funk' are both Hollywood movies made by and about Asian Americans, for all of America--only without Hollywood."

But the showcase also maintains a commitment to movies outside the mainstream. Spencer Nakasako's latest camcorder diary, Kelly Loves Tony, makes its Midwest premiere after selling out multiple nights at the San Francisco festival. Focusing on the story of two Iu Mien teens struggling with family, work and marriage, Kelly Loves Tony offers a stark view of reality that contrasts sharply with the fantastical storytelling of some of the other works in the showcase.

Equally noteworthy is Wayne Wang's seminal Chan Is Missing, which opens the Chicago festival. Made in the early 1980s on a shoestring budget, Wang's first major feature is widely regarded as one of the most important films in Asian American cinematic history. Kim felt strongly that he wanted to open with Chan.

"I mentioned in our program booklet last year that Wang's family-immigrant canon has come to embody the crossover paradigm that many young yellow filmmakers see as a cage," he explained. "But 'Chan'--that's where it all began, in many senses. The style, the verve, it's still amazing to watch today, and it's still one of our favorite Asian American films of all time."

Accompanying these four major works are two programs of film shorts. With literally dozens of titles to choose from, the intimate scope of the showcase compelled the staff to be especially selective. Though they may not have been able to choose everything, Kim counters, "That gives us the luxury of being picky. As the presenters and judges, we demand to be entertained and that's what we'd want any viewer who came all the way out to this festival to feel too."

As part of the showcase, the chief organizer, Fortune 4, is also sponsoring a concert on March 28. As an independent record label, Fortune 4 has been a leading force in nurturing new Asian American rock talent. The concert features two of their groups: The KG and Aden. Especially interesting is the third act, Trigger Gospel, a country group led by Filipino American Anna Fermin who Kim describes as, "an amazing singer and songwriter--a Filipina from the Midwest."

The success of Chicago's showcase is part of the growing popularity of Asian American film festivals. Boston will inaugurate its first Asian American film series a week after Chicago, following New York, Seattle, Los Angeles and San Francisco.

Kim says that he is aware of the challenges facing the Asian American entertainment community. The showcase not only helps map the present scope of Asian American cinema, but it's also a potential harbinger for the future. Frustrated by the narrow margins that most Asian American cinema gets pushed out to, Kim sees One Hundred Percent and Fakin' Da Funk as important building blocks, suggesting, "Someday we'll watch films like these at the mall, with a line stretching past The Gap. For now, we'll just sit in the dark and make believe that Koyanagi and Chey came roaring out of Hollywood with our back dues, the holes in our souls, and these blockbusters."

For a complete schedule of events, sign onto the Fortune 4 website at www.fortune4.com

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