Filmmaker Magazine by Howard Feinstein - July 23, 2014
Over the years, many New York-based media arts organizations and the film festivals they produce have folded, or scraped by in spite of outdated approaches and rigid programming. Asian CineVision and its offspring, the Asian American International Film Festival, on the other hand, have proven to be the little engines that could. The secret to their success: a keen awareness of shifts in the zeitgeist and talent pool, without losing sight of the Asian American community they serve (with a value added outreach to non Asian American communities). They are masters of reinvention.
The 37th edition of the AAIFF (July 24-August 2) is comprised of 18 features and 33 shorts whose point of origin and makers might be Asian American or Asian (with an occasional non-Asian or non-Asian American directing an Asian subject).
One stunning eye-opener does not fit the usual fest slots: Kumu Hina, an intimate, very personal doc — a filmic encounter, really — by non-Asian American co-directors Dean Hamer and Joe Wilson (Out in the Silence). The two spent a year following a transgender woman, a mahu, someone who lies between male and female. In the context of this festival, she could, as a Hawaiian, be considered either Asian American or Polynesian, or both, because she is indigenous and closely identifies with her native culture.
Isn’t it ironic? A culturally specific subject plays a culturally pliant festival. The fact that the AAIFF begins on exactly the same day as Newfest this year (on a Thursday at that) makes it especially curious that Kumu Hina is screening at the Asian American rather than the LGBT fest. “Hina transcends the usual categories that western culture seems compelled to put people in,” says Hamer. “Some film festivals get that, like Frameline (where it won the Jury Prize for documentary). Others don’t, like Outfest and Newfest, which decided not to program the film, apparently because they had ‘too many trans docs’ this year — as if every film, too, had to be put in its own little box.”
Unlike what up until recently has been the fate of many transgender individuals on the mainland, Hinaleimoana Wong-Kalu, or Hina, lives in a supportive native Hawaiian culture that has traditionally held a respectful place for those whose sexual identities are outside the norm. (Jared Greenleaf’s powerful animation illustrates the pre-contact embrace of mahu.) She is a strong woman, the recent bride of a Tongan husband, and a successful teacher of arts, particularly dance, whose self-appointed mission is to promote native culture. She takes under her wing at Halau Lokali, a charter school geared toward all things native, Ho’onani, a young sixth-grade girl with strong ku, or energy, which puts the self-assured youngster in the middle, as they say in Hawaii, and enables her, with Hina’s blessing, to lead the boys-only hula class. (Hamer and Wilson’s next project is a short educational film on Ho’onani, told from her pov, with the goal of showing it in schools all across the country.)
The world Hina lives in, and by this I mean class as well as gender, is something that tourists never see. Here’s your chance — and a colorful world it is.