Director: Kexin “Cassie” Lin
Screenwriter: Kexin “Cassie” Lin
Cast: Eve Zhao, Erin Malimban
Producer: Jacqueline Thom, Coral Worley
Cinematographer: Marcos Larancuent
Genre: Featured short
Dialogue: English, Chinese
Subtitles: English, Chinese
Region: United States
Production Company: None
As a 1.5-generation Chinese America who moved to the U.S. in childhood, Mar always feels like being sandwiched between the two cultures she has experienced. After following her parents’ wish to graduate with a finance degree, she ends up working at a grocery store in Chinatown, a job her parents would never stop complaining about. One day, her high school (girl)friend Kai, whom she hasn’t seen in seven years, shows up at her job. As the discreet history between them unfolds, the connection between them is rekindled. Mar, being reminded by Kai, also starts to realize she has long lost herself in the guilt for her “wrong” sexual orientation. Yet, in this enclosed community where traditional Chinese values have been forced on Mar fiercely, this relationship has once again put Mar into the same dilemma.
导演介绍 Director Biography
Kexin (Cassie) Lin is a bilingual Chinese filmmaker with a concentration in directing and cinematography. She recently graduated from Emerson College with a B.F.A. in Film/TV production and a minor in Comedy Writing & Performance. Harlan Bosmajian, the cinematographer of Saving Face (2004) was her faculty adviser. Having been devoting herself to the writing and production of queer cinema for the past three years, she will keep exploring the potential of Asian queer stories.
导演阐述 Director Statement
My college is located right next to Chinatown, a dusty and crowded area of Boston. Eavesdropping on all kinds of Chinese dialects, I would often get a time-travel illusion—this place doesn’t feel like China but, at the same time, it feels too much like China. It was then that my interest in Asian American/immigrant community story was aroused. I can’t help but ponder: what do these“double lives” that we are experiencing mean to us? How could one fit into two conflict value systems simultaneously? And how do concepts such as “family” and “worldly success” play out in this experience?
That’s why, in Not Like You, I chose to tell an Asian American story through the lens of homosexuality. As lesbians who have been surrounded by Chinese traditional values their entire lives, both Mar and Kai possess two completely isolated identities. For Mar, the incident that happened back in high school had added another layer of guilt to her shoulders, which has led her to create a “normal” image of herself in front of her parents, even if this process is full of pain. The similar experience is not rare within the Asian community, including mine. A lot of us would consider success, wealth, and the fulfillment of our parents’ wishes as the ultimate goals of life, while forgetting to care about how we really feel. With that being said, the mother-daughter dynamic in this story is not purely a command-obey relationship. Instead, I’m looking to explore a deeper and more complex dynamic—Mar and her mother are two individuals independent of each other. At the same time, however, they are both struggling with the same dilemma. Rather than the direct result of her obedience or rebellion to her parents, the constraint and liberation of Mar are more like a representation of the entanglement between two sets of values Asian Americans are experiencing. By presenting the story this way, I intend to reverse the stereotypical Asian narrative in English-speaking media and shed light on the uniqueness of individuals’ stories.