This program has 7 films. Toggle between film descriptions by clicking on the buttons at the top right.

A Filipino-American woman grapples with going behind her strict Catholic sister's back to buy condoms for her 14-year-old niece. Director Biography -&nbsp;Yasmine Gomez<a href="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/002/164/073/original/dc0b925043-headshot.jpg?1662345181" rel="noopener noreferrer" target="_blank"><img src="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/002/164/073/thumb/dc0b925043-headshot.jpg?1662345181" width="205" style="border: none; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-family: inherit; margin: 0px 1em 1em 0px; padding: 0px; vertical-align: middle; display: inline; height: auto; max-width: 100%; position: relative; float: left;"></a> I wanted to make a comedic drama exploring sex and Catholicism, and the difficult choices women make to support each other under oppressive circumstances. I also wanted to look at the black sheep in Filipino familial relationships and the secrets that bubble underneath the surface.

Party Favor

A Filipino-American woman grapples with going behind her strict Catholic sister's back to buy condoms for her 14-year-old niece.

An estranged mother and daughter go through their late loved one's self-storage unit to discover some lost items that spark up memories of the past, revealing feelings that they have kept stored inside. Director - Rommel Andaya<img src="https://storage.googleapis.com/eventive-static/fc29ebcb7c6d092825c754e034e453fb.jpg" width="157" style="display: inline; float: left; margin: 0px 1em 1em 0px;"> ﻿I wanted to tell a story about the feelings that we keep inside whether it be something painful or admitting your love for someone. I related these memories and feelings like boxes in a self-storage unit that we slowly unpack and introduce them to our life or keep them locked away.

Self Storage

An estranged mother and daughter go through their late loved one's self-storage unit to discover some lost items that spark up memories of the past, revealing feelings that they have kept stored inside.

A Chinese American family comes together for the first time after one of the adult children has died. Director -&nbsp;Roxy Shih<a href="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/001/974/864/original/a80a1612ab-headshot.jpg?1640822535" rel="noopener noreferrer" target="_blank"><img src="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/001/974/864/thumb/a80a1612ab-headshot.jpg?1640822535" width="136" style="border: none; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-family: inherit; margin: 0px 1em 1em 0px; padding: 0px; vertical-align: middle; display: inline; height: auto; max-width: 100%; position: relative; float: left;"></a>Roxy Shih is a Taiwanese-American director whose latest feature film, LIST OF A LIFETIME (aka BREAST CANCER BUCKET LIST), with Kelly Hu and Shannen Doherty, was nominated for a Critics Choice Award for Best Movie Made for Television. The film served as Lifetime's centerpiece film for Breast Cancer Awareness Month. Roxy was also nominated for best directing at the DAYTIME EMMYS for her work on DARK/WEB. In 2021, Roxy also directed the entire series of Facebook Watch's MIRA MIRA, a smash-hit seen by over 60 million viewers, and completed two episodes of Zak's HAUNTED MUSEUM , a new series produced by Eli Roth. In 2019, her second feature, the horror- thriller PAINKILLERS premiered on Hulu. In 2016, Roxy directed the post-apocalyptic thriller, THE TRIBE, which was received well by critics and audiences alike after a successful festival run. Before directing, Roxy produced over 12 features alongside a plethora of music videos, ads, and branded content. A big champion of her community, Roxy co-founded the Taiwanese American Film Festival in Los Angeles and previously served as the festival director for two years. She currently hosts a podcast called TWO HORNY GOATS where she and her co-host Priska dismantle Asian-American stereotypes by tackling difficult subject matters on a weekly basis. You can find the podcast on Spotify or iTunes.

Hui Jia

A Chinese American family comes together for the first time after one of the adult children has died.

A young Indian American man returns home after his college graduation and struggles to connect with his family, who choose to act like nothing is wrong. Director - Akshay Ravi<img src="https://storage.googleapis.com/eventive-static/cea55db08154e99e6323ab48e0dadc5b.jpg" width="132" style="display: inline; float: left; margin: 0px 1em 1em 0px;"> Too often in South Asian households, mental health is a topic of conversation that is brushed under the rug entirely. In my own family, when the topic of mental health struggles was brought up, the response from my parents was to indicate guilt that maybe they did something wrong in how they raised us. I directed this film because I really wanted to explore the dynamics in a household where a family is refusing to acknowledge an important issue, leaving a gaping hole in their ability to connect with each other. As we were developing the project and putting together the team, one of the biggest things that brought everyone together was this shared vision to start acknowledging and pushing forward the topic of mental health in South Asian families. We hope that you enjoy our film!

Coming Home

A young Indian American man returns home after his college graduation and struggles to connect with his family, who choose to act like nothing is wrong.

Ma's Kitchen is a semi-autobiographical short film (which will become a feature film) about Debbie Vu, her mother, their language barrier and straddling between two very different cultures, Vietnamese and American.

Ma's Kitchen

Ma's Kitchen is a semi-autobiographical short film (which will become a feature film) about Debbie Vu, her mother, their language barrier and straddling between two very different cultures, Vietnamese and American.

Still living in the hoarder’s house she grew up in, young adult Dara contemplates moving forward in life. Director -&nbsp;Jamie Lam<a href="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/002/151/328/original/dc7d26fa11-headshot.jpg?1660773882" rel="noopener noreferrer" target="_blank"><img src="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/002/151/328/thumb/dc7d26fa11-headshot.jpg?1660773882" width="136" style="border: none; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-family: inherit; margin: 0px 1em 1em 0px; padding: 0px; vertical-align: middle; display: inline; height: auto; max-width: 100%; position: relative; float: left;"></a> Film can be a form of therapy, albeit perhaps not the most practical or easiest route to finding catharsis. Growing up in a hoarder's home, I dealt with countless emotions that I struggled to come to terms with. So much shame, anger, and sadness came with not living in an environment conducive to freedom and choice. I wanted not just physical space, but a space to invite friends and family, a space to decorate and express; a space to create. Perhaps that is why I turned to film as a medium. I can create to my heart's content, play within the realm of the frame, and express myself through objects, images, and moments however I please. Even now, at age 25, I continue to live in a hoarder's house with my parents. Before making "The Mess We're In", I asked myself—Why am I still here? This film became the journey to finding that answer. I wanted to explore the cognitive dissonance that children of hoarders like myself undergo when you grow up in what can be a very loving home, but ultimately is a very stress-inducing environment. I hope the world can understand us just a bit better, and the mess that we all live in.

The Mess We're In

Still living in the hoarder’s house she grew up in, young adult Dara contemplates moving forward in life.

DONUT KID illustrates the story of Ben, a second-generation Cambodian American who grew up folding pink boxes and selling pastries from behind the counters of his refugee parent’s donut shop. Beyond the neon-colored storefront, you'll discover a sweet tale of community resilience, survival, and familial love. Director -&nbsp;Michelle Thach<a href="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/002/048/030/original/7e8ed6270c-headshot.jpg?1649029933" rel="noopener noreferrer" target="_blank"><img src="https://filmfreeway-production-storage-01-storage.filmfreeway.com/press_kits/headshots/002/048/030/thumb/7e8ed6270c-headshot.jpg?1649029933" width="141" style="border: none; font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-family: inherit; margin: 0px 1em 1em 0px; padding: 0px; vertical-align: middle; display: inline; height: auto; max-width: 100%; position: relative; float: left;"></a>Following the political violence and tragic events of the 1970s in Cambodia, there was a large influx of Khmer refugees who opened small, mom-and-pop donut shops as a means of survival in the U.S. Throughout the years, donut shops have gradually become symbols of the sacrifice, dedication, and resilience of Cambodian American communities. Having grown up around these mom-and-pop shops, they hold a special and sentimental place in my heart. While watching my parent’s generation grow older I realized that the fate of these donut shops is currently in limbo as the original shop owners gradually age and retire. With my and Ben’s generation reaching the formative age where we are defining our future and choosing our life-long careers, I wanted to explore whether or not the legacy of Californian, Cambodian-owned donut shops will be kept alive by the donut kids, or if these shops will gradually fade into obsolescence, having served their purpose as a means of survival for the initial waves of refugees. Nonetheless, I hoped to memorialize Cambodian donut shops and the stories of the families behind them, because few stories are as emblematic of the Cambodian-American experience as growing up around these community pillars.

Donut Kid

Illustrates the story of Ben, a second-generation Cambodian American who grew up folding pink boxes and selling pastries from behind the counters of his refugee parent’s donut shop

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Shorts Program: Embracing Family - Virtual

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