GO BACK TO CHINA
Synopsis: When spoiled rich girl Sasha Li blows through most of her trust fund, she is cut off by her father and forced to go back to China and work for the family toy business.
Review of GO BACK TO CHINA
When I first heard of the title, I did a double take. It has that anti-immigrant sentiment, but yet that provocative title works perfectly in the context of this film (read below on my Q&A about how director Emily Ting arrived on that title). This is the first time I saw Anna Akana (I wasn’t aware she’s a famous YouTube star), but the casting is spot-on as she brings a natural whimsy and playfulness to the drama. Although her character Sasha spoiled and even delusional at first (as illustrated in the hilarious opening scene where she goes on a job interview at a fashion house), you can’t help but empathize with her and wants to see her do well.
This is a coming-of-age story of sort, with Sasha being forced to terms with her father’s wishes of working at his factory, and finally finding her footing in the family business. The fact that the film was shot in Shenzen, China definitely makes the film feels very authentic. There are some tough moments between her and her old-fashioned father (Richard Ng), especially in regards to him constantly getting divorced and remarried. Naturally they differ in what each consider familial duty, with Sasha’s loyal step-sister Carol (Lynn Chen) sometimes caught in the middle. At times the story feels like an adaptation of the prodigal son from the Bible.
If I had to nitpick however, at times the fact that Sasha gets acclimated in the business and excels as a toy designer feels too good to be true. Somehow the toy factory crisis in the third act is resolved all too conveniently as well. But those are small quibbles in an otherwise charming and entertaining familial drama. Having grown up with an entrepreneurial, head-strong grandmother who’s Chinese-Indonesian, I can certainly relate to the story.
This is a terrific sophomore feature from Emily Ting. I really enjoyed her debut film Already Tomorrow in Hong Kong, and here she stepped up the game with a more complex story and also a bigger cast. I particularly enjoyed the scenes between Anna Akana and Lynn Chen, two strong Asian-American performers I’d love to see more of. I also have to mention the extremely-underrated Kelly Hu as Sasha’s mother, I wish she had more screen time but glad she’s part of the cast.
It’s wonderful to see more Asian-American stories coming out the past few years. Emily Ting is a gifted filmmaker I hope would continue making films. Oh, and after watching this, I suddenly got the urge of getting a bunch of stuffed animals! 😀
Interview with Emily Ting
1. Go Back To China was inspired by your own experience and certainly felt personal. Would you share a bit about that experience working in Shenzen at your dad’s company?
I feel like everyone has one story that has shaped the trajectory of their life and defined who they are today. For me, going back to China to work for the family business is that story. I learned a lot about myself in the 12 years I spent working for the family business, and making this film was a really cathartic experience. When I decided to go back to Asia, I thought that meant giving up on my filmmaking aspirations forever. But ironically, that experience ended up inspiring all the films I’ve made since.
2. How did you decide on making the semi-autobiography into a comedy, has that always been your vision from the start?
This was actually my attempt at making a serious drama! But I naturally have a very light touch, so this is just my filmmaking voice coming out. Also, I think that a lot of the comedy is a result of Anna Akana’s performance. She is a comedienne, and she brought a lot of her comedic chops to the role. I don’t think the film would be as funny if someone else had played Sasha.
3. The title is certainly quite provocative, and it’s perfect for this story. How did you come up with that?
I finished the whole script without any idea on what to call the film. I was playing around with some more mundane ideas for the title, like “The Family Business” or something like that. And as almost a joke, I slapped “Go Back to China” on the draft as a working title, since this is a film literally about a girl who goes back to China. But I didn’t think that we could actually call my film that. I think that my manager was the first person I sent the script to and he took to the title right away. And then everyone else that I sent the script to told me they loved the title and that I shouldn’t change it. So it just stuck! I still can’t believe that I got away with making a film called Go Back to China!
4. I LOVE the cast here, esp. Anna Akana & Lynn Chen as the sisters. How did their casting come about? I’d love to hear about Richard Ng & Kelly Hu’s casting as well if you wouldn’t mind sharing.
At the time when I was working on the script, I was doing a lot of general meetings at digital companies and Anna Akana’s name kept coming up. I wasn’t familiar with her work, so I looked her up on Youtube and went down a rabbit hole watching her videos. She is immensely watchable and embodied who Sasha is. Even though she has a huge following on Youtube, she hasn’t acted in a lot of traditional films. I took a leap of faith and made an offer. She responded to the material and came on board. I still can’t believe that this is her first lead role in a film!
After Sasha was cast, the role of Carol was much easier to fill. I had been a fan of Lynn Chen for a long time and knew that she would knock the role out of the park. I asked my friend Dave Boyle (who worked with her on several films) to pass the script along to her. She responded in a few days that she was in! Even though I already knew Lynn could act, her performance in this film still blew me away. She made me cry behind the monitor on set many times!
The hardest role to fill was the father. I had to push the production several times because we couldn’t get the role cast. The father’s casting process was in a way very reflective of a film about daddy issues! I had wanted a name Asian actor for the role. Actually, one of the first people I thought of was Richard Ng, who is a very beloved veteran Hong Kong actor, and we had worked together on Already Tomorrow in Hong Kong previously. But the internal consensus was that, at almost 80, he was too old for the role. We started sending offers out to younger name Asian actors. But we just couldn’t get anyone to read the script! After months of this, I returned to my initial idea of Richard. I thought, what if we just aged him down through HMU and wardrobe? My producer was on board with this idea, and I wrote an email to him. He read the script in about two weeks and agreed to take on the role. We gave him a new haircut and a more stylish wardrobe, and he was transformed into Teddy instantly. In hindsight, I wish I would’ve just followed my gut and could’ve avoided months of anxiety.
We were really lucky to get Kelly Hu for the mother role. It is a very small role and my casting director didn’t think any name actors would want to take on what is basically a glorified cameo role. But I thought it wouldn’t hurt to ask. We sent the offer to her on a Thursday, and by the following Tuesday, she signed on. Even though her role would be small, she loved the script and wanted to help the project any way she could.
5. Some of the toys featured in the film are adorable. How did you get them, did any of the ones you designed make it to the movie?
The sloth was actually from our family’s toy company’s Christmas line! I did come up with an idea for a Christmas sloth in real life, and the item was sold at Dollar General, Kroger, and some other stores. All the other toys that you see in the movie were products that were being manufactured at the factory on the days we were shooting. We went around the production line and picked toys that fit with our pastel color palette to appear on camera.
6. What are some of the challenges you faced making this movie compared to Already Tomorrow In Hong Kong, which also has elements from your own personal journey?
The two movies are such different beasts, and both had totally different challenges. Already Tomorrow in Hong Kong was shot in very uncontrolled environments and situations (running around the streets of Hong Kong). We didn’t have any control of the weather, traffic, or the people on the streets. Every day was unpredictable. But it was a very simple movie in terms of coverage, because we just had two people walking and talking. We shot the film in 14 days and only worked 6 – 8 hours on most days. For Go Back to China, the locations were all very controlled, since we shot mostly in locations that my family owned, but it’s a much more complicated film in terms of coverage. This is a much bigger story, with a lot more characters and scenes. We just had so much more to shoot in order to get all the coverage we needed. We shot for 21 days and worked the maximum 12 hours every day. And this is also a much more personal film for me than the last one. This film is about my family and not just a random encounter. It felt more meaningful and the stakes higher.
7. Lastly, with the release of Crazy Rich Asians and The Farewell in the past couple of years, and the ongoing diversity/inclusion discussion, do you think the cinematic landscape has changed for Asian filmmakers?
I definitely think that Crazy Rich Asians opened a lot of doors and the industry is more receptive to Asian American stories. At least now, they can’t use the excuse that Asian stories can’t attract an audience. I have been having a lot of general meetings with companies that are actively looking for Asian content or Asian filmmakers, and it’s certainly an encouraging trend. But at the end of the day, Crazy Rich Asians and The Farewell are still the rare anomaly and not the rule yet. However, I’m much more optimistic about the future than ever before.
Thank you for chatting with me, Emily!
TCFF screening times of Go Back To China:
Wednesday October 23rd 12:15 PM