That’s why “it’s important to put so many different shades of story” out there. “For most of us, stories feed our sense of what is possible,” she continued. Otherwise, how can I possibly believe that it can happen?” “As a queer Asian lesbian, I need to see it. Wu describes the autobiographical-inspired film as “a love letter to my mom,” and wanted to send a message to the Asian queer community that it was possible to “have romantic love and your family” in the end.
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It was the first Hollywood movie that centered about Chinese Americans since 1993’s The Joy Luck Club, and an all-Asian American romantic comedy before 2018’s Crazy Rich Asians. She held onto the film’s original premise, a Chinese American New Yorker trying to come out to her mother, despite pressures from distributors to make the protagonists “White” and only “a little gay” - with no Mandarin dialogue or big-name Caucasian stars. “I got so insanely lucky” that Saving Face (2004) was made, Wu said. But it’s an extra layer if you’re queer,” she added. “I think most of us felt lonely in high school… that’s a common feeling for most adolescents. I don’t think Ellie’s in a place where she’s, like, ‘I’ve accepted this about myself, I can choose in a place of love or even some exciting future life.'” Wu sees shades of her younger self in the film’s protagonist: “I wasn’t out to myself until my senior year of college, so similar to Ellie. Meanwhile, Ellie struggles with what love is, not just for Aster - another small-town girl with her own familial expectations - but for herself. Or anything engineer… Turns out speaking good English trumps having a PhD.” “The plan was to be promoted to system engineer. “We had to go where my dad could get a job,” Ellie tells Paul in the film. In the film, protagonist Ellie lives a dual life of “fantasy and family,” dreaming to get out of her small town but finding it hard to leave her father, who has a story that may be familiar to many Asian American immigrants. So many more ways to love than I had ever imagined.”
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“Now that I’m older, I see there are more.
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That A plus B minus C equals Love,” Wu said in her director’s statement. “For one: I used to think there was only one way to love. The inspiration of the film was Wu’s own teenage friendship with a guy friend from the heartlands, where his girlfriend was “threatened by intimacy,” despite knowing that Wu was gay. And they would never have had that courage had they not interacted with each other.” “It’s much more of a journey to understanding oneself… to being open, to finally being willing to take a stand for themselves. “In the course of the story, these three people collide,” Wu said in a phone interview with AsAmNews.
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Unlike Wu’s last film, Saving Face, which she calls her “attempt to make the biggest romantic comedy featuring Asian Americans,” The Half of It is a more “naturalistic” coming-of-age film, where romance isn’t the only focal point.