During the past forty years in Asian American cinema there have been three premieres that took my breath away: Chan Is Missing in 1982. Better Luck Tomorrow in 2002. Everything Everywhere All at Once in 2022. Twenty years apart, all signaled that the earth had shifted on its axis and the creative landscape of Asian America was on a collision course with the old, retrograde images of the past.
Getting fired from a soap opera may have been the turning point in Wayne Wang’s life and career. In 1974, Wang had returned to his native Hong Kong, armed with a graduate degree in film from the California College of Arts and Crafts in Oakland. He landed a gig at Royal Television Hong Kong (RTHK), one of the city’s biggest studios, and found himself in the company of such fellow new wave filmmakers as Tsui Hark, Ann Hui, and Allen Fong. Wang recalled: “We were all young with ‘We’re going to change the world’ attitudes