A figure in running gear emerges into the film frame, panting hard as he jogs up a steep hill.
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It’s the first Filipino-led film backed by a major American studio. It features award-winning Filipino stars from Broadway, hit movies, and music.
Northwest Asian Weekly (NWAW) publisher Assunta Ng called it an “amazing night.” NWAW won 24 awards at the annual Washington Newspaper Publishers Association (WNPA) 2020 Better Newspaper Contest—the winners were announced in a first-ever virtual awards ceremony on Oct. 9. “This is a record-breaking year in the number of awards and first place awards. Five […]
By Andrew Hamlin NORTHWEST ASIAN WEEKLY He was forced into making drugs. He was forced into selling drugs. He was forced into sexual slavery as a small child. He grew up through horrors many people couldn’t conceive of. Maikaru Douangluxay-Cloud, sometimes known as Michael, allows all the above. It’s all part of his story. But […]
The most effective scenes in “Driveways” come quietly, which filmmaker Andrew Ahn understood, because he made most of the scenes come quietly.
“At the start of [the virus outbreak,] we were in California, in Indian Wells. A girl on the street saw my husband and I walking in the street, and was loudly wondering what ‘the Asians’ were doing out. That we should be staying locked in and we already spread it.
The first thing you notice about 1980’s “Fist of Fear, Touch of Death” is that its star, Bruce Lee, isn’t actually in it.
“The past six years have been transformative and given me a new perspective of my career. I just felt like I kept hitting a wall with taking my music to the next level here in the U.S.
Up until recently, the notion of spending an evening in an art gallery alone, forcibly sequestered from anyone else while you regard the exhibits, would have seemed at least mildly far out.
“Go Back to China,” director and writer Emily Ting’s second feature film, has compelling characters, suspenseful situations, and tough talk. What it doesn’t have is much gild on the lily.