Korean-American filmmaker Andrew Ahn, whose works include short films Dol (First Birthday) and Andy and the feature film Spa Night, explores Korean-American and queer identities while challenging American film culture to expand and diversify. In this interview with Ahn, we ask about how he approaches filmmaking, the connections between his films, and more.
We are super excited to show your film Spa Night as part of our film series Movement: Asian/Pacific America. The purpose of the series is to show the Asian American/Pacific Islander perspective through films. For you, what does it mean to be Asian American? And could you elaborate on the Asian American perspective that is shown in Spa Night?
The only truthful way for me to answer this is by saying that the Asian American community is extremely diverse and holds so many different cultures, experiences, identities, and challenges. With Spa Night, I attempted to share a perspective that explores the second generation Korean-American experience. What is it like to have immigrant parents? How does this shape our identities?
As director of Spa Night, you were awarded the Independent Spirit John Cassavetes Award. The award is named after John Cassavetes, a pioneer in American independent film. You, like Cassavetes, are a pioneer in American independent film. What motivated you to be a pioneer with your filmmaking? Where did you find the courage to be a pioneer?
I’m very flattered by this question! I don’t know if I would consider myself a pioneer, because I have met and researched filmmakers who have worked hard to give me the opportunity to make a work like Spa Night. I am part of a history and a community that has not received its fair share of publicity. In this way, I feel less like a vanguard and more like a runner in a relay race. The baton has been passed and I’m going to do my best with it until the next generation of filmmakers. This does take a certain amount of courage, but it’s nice to know that I’m not alone in this. I’m motivated by the legacy.
Your first film Dol (First Birthday) was made for your family. What were your expectations for the film? Were you afraid of its reception?
I had such a specific and personal reason to make Dol (First Birthday). I wanted to come out to my parents. I used the film as a vehicle to help me with that process. My only expectation for the film was that. I didn’t think it would screen at Sundance. I didn’t necessarily think it was going to launch my career. I didn’t know how many people would see it. Anything beyond showing it to my parents was a bonus.
There is a theme of nakedness across both Dol and Spa Night. Dol ends with a shower scene, while Spa Night takes place in a Korean bathhouse. Is there a metaphorical significance to the nakedness? Is the connection between the two films intentional?
The connection wasn’t intentional, but I do think there’s a subconscious connection. There’s a vulnerability to nakedness. What emotional walls fall when your characters are physically vulnerable? It puts the characters in more danger, in more excitement. Also, very important to my work, is this idea of my Korean body. There’s something about how my biology connects me to my culture. I feel very Korean inside a Korean spa because I’m naked and very aware that my body looks like the other Korean bodies in that space.
For you, why is showing Asian American perspective important? Why is the existence of Asian American film important? More specifically, why is the existence of LGBTQ Asian American film important?
I believe that American cinema culture should reflect the diversity of our country. Representation in film (and art in general) validates our experiences as stories worth telling. Through art and documentation, we can move toward equality. Asian American film and LGBTQ Asian American film are growing; I feel like there are more and more films each year that fit within these spaces. It’s my hope that soon we’ll have rich, full cinema cultures that show the diversity within our communities, the wide-ranging narratives of our existence.
Andrew Ahn is scheduled to be present at IU Cinema on April 3 for the 7pm screening of his award-winning film Spa Night as part of the International Arthouse Series and Movement: Asian/Pacific America Film Series. The Movement series also includes a screening of Dianne Griffin’s Painted Nails on April 10 at 7pm.