Tag Archive for: Film

Review: Sinners

Released in theaters on April 18th, 2025, Sinners has since captivated the minds of many, including myself. I admire director Ryan Coogler’s fervor for filmmaking, and his passion shines through in all of his past projects. After watching his work with the Black Panther movies, I knew Sinners would be an excellent watch and was excited to see a new perspective on racial dynamics in American society. The film’s overall spirit and spotlight on the Chinese community in the Mississippi Delta ultimately led me to write about the Chow family’s role in Sinners.

Set in the Mississippi Delta during the 1930s, Sinners follows a story of racial tensions, morality, and sacrifice. The film begins with its protagonists, the SmokeStack twins (both played by Michael B. Jordan), as they return to their hometown in Mississippi to fulfill their wish of opening a juke joint. Along with their cousin Sammie (Miles Caton), the twins recruit help and entertainment for their big opening night. Of the many they approach, they enlist the help of Bo and Grace Chow (Yao and Li Jun Li), a Chinese couple who own two grocery stores in town. As night falls, the juke joint proves to be a flourishing haven for the Black community to gather and socialize, away from the regular white-dominated spaces. Guests dance the night away to Sammie’s vocals that are powerful enough to warp time and space. Unfortunately, the party draws the attention of evil beings lingering in the night, turning their perfect night into one of pure horror. 


Coogler, R. (Director). (2025). Sinners [Film]. Warner Bros. Pictures.

Sinners represents the Chinese community in the Mississippi Delta through the Chow family. In the film, Bo, Grace, and their daughter, Lisa (Helena Hu), run two grocery stores. The stores are a mere five-minute walk from each other, serving the white and Black communities separately. Coogler introduces the Chow family‘s place in the community through Grace’s quick walk from one store to the other. This visual is undoubtedly purposeful, as it depicts the racial limbo in which Asian Americans existed. In a society so heavily divided between Black and white, Asian Americans were not fully accepted or rejected by either side of the racial binary. As a result, they learned to make ends meet by making strides in any way this racial binary allowed, which often meant catering to both sides. This visual evolves later in the film, of course, with Coogler showing both Black and Chinese cultures being celebrated in the juke joint.

Coogler, R. (Director). (2025). Sinners [Film]. Warner Bros. Pictures.

At the climax of the twins’ party, Coogler illustrates that the power of music can not only transcend time but also bring together cultures. As Sammie sings, Black dancers swirl onscreen, and once Bo and Grace start dancing, two Chinese dancers appear alongside them. These dancers represent and celebrate their respective cultures, and their peaceful coexistence signifies that the juke joint is a safe place for cultural expression and mixing. This visual is especially significant considering the history of Black and Asian solidarity in the U.S. Of course, social constructs like the model minority myth (implemented so that Black and Asian communities turn against each other instead of against oppressive systems) often challenge and overshadow moments of solidarity. As we can see from the collaboration of college student organizations in The Third World Liberation Front, as well as more recent examples, the unity in the Black Lives Matter and Stop Asian Hate movements, marginalized groups have supported each other against a larger oppressor and are more effective together than apart. Consequently, not only does Sinners remind its audience of the long history of Black-Asian solidarity, but the vibrancy of Black and Chinese dancers joined in celebration in the juke joint also reflects the perseverance and unity of marginalized groups in America despite oppressive forces against them.

Coogler, R. (Director). (2025). Sinners [Film]. Warner Bros. Pictures.

As the night grows darker, Grace becomes the catalyst for a major fight between the humans and the vampires. Up until this point, Grace had to actively reject the taunts of Remmick (Jack O’Connell), the main villain of the film, and the vampire version of her husband. They try their best to convince Grace to follow them into vampirism, manipulating her longing to be with Bo. After being verbally harassed in her native language by Remmick, Grace accepts her husband’s unfortunate fate and allows the physical and metaphorical door to shut between them. Supported by her fellow survivors in the juke joint, Grace’s resilience and refusal to comply refreshingly subvert the submissive stereotype that so many Asian women are subjected to. 

Though many may disagree, Grace further demonstrates her strength and agency by later allowing the vampires into the juke joint. Moments before she says those magic words, Grace thinks of her daughter left behind at the store. As long as vampire Bo and the other vampires are alive, Lisa is in danger. On her own terms and determined to do whatever it takes to ensure her daughter’s safety, Grace prioritizes her family’s preservation by eliminating the threat that vampire Bo poses. Familial protection is a common theme in Asian communities, especially within the diaspora. Moving from a land of shared culture to a foreign land with significant racial tensions is daunting and demands support. Families can function as a built-in support system while living in a white majority society. Not to mention, a growing family in the United States overcoming its obstacles is an indicator of American prosperity. Grace’s sacrifice guarantees that her family legacy in the Mississippi Delta continues through Lisa. Grace’s battle cry and sacrifice dismantle the submissive Asian woman stereotype and highlight the value of family preservation in Asian American communities.

Coogler, R. (Director). (2025). Sinners [Film]. Warner Bros. Pictures.

Before Smoke gets his revenge, he recounts the events leading up to the juke joint’s big opening. He remembers some of his last moments with his friends and family as they set up for a seemingly perfect night. Although her appearance is very brief, Grace’s costume immediately caught my eye: a denim jumpsuit, with her hair in an updo tied back by a red bandana. The outfit of the American cultural icon Rosie the Riveter, the exemplar of the average American woman. Although this movie is set years before World War II, when the image of Rosie the Riveter first appeared, a majority of its audience would undoubtedly recognize Grace’s costume. Consequently, this fleeting yet powerful image breaks the perpetual foreigner stereotype often placed on Asian Americans and challenges the idea of what a true American looks like.

Coogler, R. (Director). (2025). Sinners [Film]. Warner Bros. Pictures.

Overall, I thoroughly enjoyed the amount of work and research that went into producing this film, and judging by its remarkable success and praise on the internet, I am not the only one. I’ve watched it twice so far and am more than willing to watch it again. I appreciate Ryan Coogler’s attention to detail in composing this story, which allows me to spot something new in each watch. I always find it especially powerful when a film can evoke multiple powerful emotions throughout the two hours we are together. There is joy, grief, comedy, and overall a lot of heart in this film, easily making it a favorite of mine. 

The film’s soundtrack plays a significant role in the harmonious composition of emotion and movement in a scene, which further draws audiences into the world of Sinners. I find it highly captivating how Coogler deliberately characterizes music, specifically the blues, in Sinners to have otherworldly properties that bring together time and space. In doing so, the blues serves as a totem for Black culture that is constantly sought after by outsiders, an issue that still remains today. Blues music in Sinners demonstrates the timelessness and resilience of creativity and spirit in the Black community. The scene where Sammie sings “I Lied to You” is especially stunning, as audiences do not often see grand celebrations of Black and Chinese culture, and this is the perfect visual to give the audience before the conflict begins.


Coogler, R. (Director). (2025). Sinners [Film]. Warner Bros. Pictures.

I also appreciate Coogler’s initiative to hire a cultural consultant to ensure that the Chows’ story and the spirit of the Mississippi Delta Chinese community are accurately portrayed on screen. It is so easy to gloss over this piece of history or exclude it altogether, but implementing the Chows adds so much nuance to the racial social politics in Sinners and 1930s America. The inclusion of the Chows’ story gives value to not only Asian American representation in media but also the range of Asian American experiences. Sinners also sheds light on the often unheard-of Mississippi Delta Chinese community to a wider range of audience members, including myself. Sinners is a must-watch film, crafted with so much heart and thought; I’m glad it’s getting the recognition it deserves.

Written by Kristi Viray, 2025 Summer Intern, William & Mary ’24

by

Event Recap: Flashback: Chinatown DC – Classroom Application

,

On February 9, 2025, the 1882 Foundation continued its tradition of hosting monthly Talk Story series with a presentation on new lesson plans regarding Washington D.C.’s Chinatown. The presentation was led by the Foundation’s Education Director, Ting-Yi Oei, and there were about 20 people in attendance, in-person and via Zoom. 

These lesson plans stem from a series of videos made in conjunction with HumanitiesDC, filmmaker Penny Lee, and the 1882 Foundation, that focus on documenting the oral histories of people who grew up in D.C.’s Chinatown. The session began with a short “pop-quiz” to test the participants’ prior knowledge of Chinatown. Ting-Yi then launched into a mock lesson to imitate how these lesson plans could be implemented, guiding the audience through various activities, such as a roundtable discussion about childhood and memories and how that compares with the stories from Flashback. Having various generations in the audience allowed for an interesting discussion as to how communities have changed over time, mostly due to the rise of the internet. 

The Flashback: Chinatown DC series were shown to be used as a launching point to connect to several different topics in school curriculums, whether it be immigration, local history, community building, this catalog of oral histories gives space to learn more about the Asian American community while also keeping in line with state curriculum. This was the first introduction of the lesson plans to the public. Ting-Yi and the Foundation intend to spread these lesson plans as a resource for teachers in the DMV area. 

by

1882 At: “Asian Americans on Celluloid” Launch

On November 14, the Music of Asian America Research Center (MAARC) launched “Asian Americans on Celluloid” at the Philadelphia Asian American Film Festival. This film timeline gives students a fun way to learn how Asian American representation and experiences have changed over time. 

The initial release contains 20 viewing guides and four introductory essays on Asian American filmmaking eras. MAARC intends to expand it to 45 films over the next year. Eric Hung, MAARC Executive Director and Co-Founder, and Irene Chien, Assistant Professor at Muhlenberg College, created the timeline with the help of Suzi Birnbaum, Lauren Eng, Mea Lang Lee, Runchao Liu, Faye Ma, and Jon Silpayamanant.

Click here to access “Asian Americans on Celluloid.”

by

Chinese American Experiences in History and Short Films: A Traveling Seminar

Join 1882 Foundation for the first installment of our traveling seminars. Seminars feature short documentary film screenings, expert speakers, discussions of key historical themes, and lesson plans for educators. The first session is geared towards teachers and the second session towards the general public (though all are welcome to attend either). The seminars will shed light on the Chinese American experience, what it means to be American, and why that story and that of all Asian Americans must be told.

FIRST SESSION: Recruited, Excluded, and (sort of) Included: the Asian American Experience seen through short films
Aug. 29, 12:30 to 3:30 PM
Arlington County Teachers Workshop
Arlington Traditional School
855 N. Edison St.
Arlington, VA 22206

Chinese came to America looking for “Gold Mountain” in the 1850s and then to build the Transcontinental Railroad. But in 1882 and for 60 years after, Chinese Americans and later all Asians were not allowed into the U.S. and denied citizenship if already here. Fitting into American life was especially difficult given this legacy of exclusion. Teachers will explore this history and view two contemporary short films. “Through Chinatown’s Eyes: April 1968” is about the Washington, DC riots following Martin Luther King’s assassination and its impact on Chinatown. “Finding Cleveland” follows a young Los Angeles man seeking his Chinese roots and unexpectedly finds himself tracing the path of his father and grandfather to Cleveland, Miss. in the heart of the Jim Crow south. A panel discussion will follow with filmmakers Lisa Mao and Larissa Lim and noted scholars Janelle Wong (University of Maryland) and Krystyn Moon (University of Mary Washington). Teachers will also receive lessons addressing the history of exclusion and issues of identity raised by the films.

Speakers/Panelists: Janelle Wong (U. of Maryland), Krystyn Moon (U. of Mary Washington), Larissa Lam (filmmaker of Finding Cleveland), Lisa Mao (filmmaker of Through Chinatown’s Eyes: April 1968)

SECOND SESSION: Recruited, Excluded, and (sort of) Included: the Asian American Experience seen through short films
Aug. 29, 7:00 to 9:00 PM
Open to the Community
Kenmore Middle School
200 S. Carlin Springs Rd.
Arlington, VA 22204

In the evening, we will be showing the same two films but with a different perspective: how do changing communities such as Arlington build on the strengths of their individual communities (Asian, Latino, Black, and White). The idea here is to for people to understand how important it is for all the communities to get to know each other and their history. Panelists include Samir Meghelli, (Curator, Smithsonian Anacostia Community Museum), Marya McQuirter (DC 1968 Project) and Larissa Lam

Again, the seminars will need to be tailored to each venue, but this may give you a few ideas. The films I would like to use in Norfolk are Finding Samuel Lowe and Finding Cleveland. “Finding Samuel Lowe” is longer – by Paula Madison runs 40 minutes but is excellent. We showed it in DC at our annual 1882 Symposium. It’s about three African American siblings, one of them Paula, who grew up in Harlem with their Chinese/Jamaican mother. They follow a trail to Jamaica, Toronto, and then to China to learn about their Chinese grandfather. At the critical juncture of venturing off to China, Paula’s husband asks her, “What do you expect? You know you’re Black?” She laughs and says, “I know I’m Black! I expect that because I am their family and they are my family, we’ll be family… I know that I am a Lowe, and they will want me as much as I want them.”


Our events are free and open to all. For questions, or to get involved, please contact Ting-Yi Oei at tyoei66@gmail.com.

 

Click here for flyer!

by

Chinese American Film Seminar, 5/13 – 5/14/17

The 1882 Foundation’s Chinese American Short Film Seminar (May 13th-May 14th) explored filmmaking as both identity building and as potent storytelling. Films presented at the Alexandria Black History Museum grappled with the role of lineage and faith, and added to the defining “Chinese American.”

These included a full length screening of “Finding Samuel Lowe,” in which three African Jamaican-American siblings from Harlem searched for information regarding their grandfather, Samuel Lowe. Their search took them from New York and Toronto to Jamaica and China. Film writer Paula Madison explored intersectionalities between international communities and race through familial ties.

A short film, “Finding Cleveland” by Baldwin Chiu and wife Larissa Lam, discovered roots in the Mississippi Delta, where Chinese live between black and white struggles. Their short film touched upon the community impacts of racist legislation like the 1882 Exclusion and the Page Acts, which split families and left gaping holes felt acutely by children and grandchildren decades later.

Paul Jew’s “The Wok From Albuquerque to San Francisco” focused on a single act of kindness in Albuquerque and its ripple effect across time and space to his Auntie Tane’s Wok Shop in San Francisco Chinatown.  It touched on both Christian grace and Chinese ancestral rites. Ken Eng’s excerpt from “My Life in China” explored these rites in quiet poignancy with his father’s return to China.  Both films tell a spiritual aspect of Chinese diaspora that binds them despite separations by geography and generations.

 

by

The Search for General Tso: A Film Review

The Search for General Tso:  A Documentary Film about Chinese Food in America

By Roberta L. ChewGen Tso book cover

(The film trailer was shown in a program about Chinese Food at a Talk Story Event, Washington, D.C., February 28, 2016.)

 

Director Ian Cheney and a friend were traversing rural America and noticed Chinese American restaurants were just about everywhere, even in out of the way small towns.  They were intrigued by one particular dish, General Tso’s Chicken, which was ubiquitous.  They decided they would explore how Chinese food got to be so widespread and popular and build the story around this one dish.

Cheney began a collaboration with Jennifer 8. Lee, author of The Fortune Cookie Chronicles who co-produced the film.  Lee herself had been on a personal journey to discover the history and development of Chinese food in America, learning how it began with Chinese immigrants who came to America in the Gold Rush days to today’s 40,000 Chinese restaurants which stretch from coast to coast.  How did a foreign cuisine come to appeal to the American palate?  The film explores the slow acceptance of immigrants, the flexibility and adaptability of Chinese chefs and business owners willing to do what is necessary to succeed and satisfy the customer.

The filmmakers start their quest in China where they discover the dish is unknown.  They visit Hunan Province, home of the real life General Tso.  There they meet a 5th generation descendant of the general, who show them around his memorial, describing his life and fame during the Qing Dynasty.  Not surprisingly, the relative knows of no connection between General Tso and a chicken dish.

The film is entertainingly interspersed with animated woodcuts.  It explores contending claims by a Taiwan chef and a New York City Chinese chef as to which of them invented the dish.  We’re taken on a tour of discovery of Chinese restaurants from New York, San Francisco, Phoenix, Flagstaff, New Mexico, Missouri, New Orleans, and Syracuse.  Along the way, we learn of the history of Chinese in America, how they became dispersed across the country due to discrimination in California, how they were aided by benevolent and family associations who assigned specific territories for new restaurants so they wouldn’t compete directly with one another.

Authors such as Bonnie Tsui who wrote American Chinatown:  A People’s History of Five Neighborhoods (2010) and Andrew Coe, author of Chop Suey:  A Cultural History of Chinese Food in the United States, (2009) also chime in.  Legendary Chinese food maven, Cecilia Chiang, who helmed the pioneering Mandarin Restaurant in San Francisco in the 1960s discussed the challenges she faced opening an upscale Chinese restaurant.  Sitting by her is her son, Peter Chiang, founder of the modern chain of  P.J. Chang’s restaurants.  All in all, an engrossing, all-encompassing tour and history of Chinese food in America.

The Search for General Tso (2014) 73 mins – Available on Netflix

by

Tag Archive for: Film

Nothing Found

Sorry, no posts matched your criteria

Menu

Make a Donation

The 1882 Project Foundation is an IRS-approved 501(c)(3) organization formed in the state of Virginia. All donations are tax deductible.

Donate

Join Our Mailing List

(*=required)


Contact 1882 Foundation

508 I Street NW (lower level)
Washington, D.C. 20001
Email: info@1882foundation.org

©2026 1882 FOUNDATION. ALL RIGHTS RESERVED.