In the vibrant landscape of independent cinema, few voices resonate with the unique blend of cultural insight and artistic vision that Chyan Lo brings to her work. A Taiwan-born, Brooklyn-based filmmaker, Lo has carved out a niche for herself with her poignant explorations of women’s stories, immigrant experiences, and Taiwanese identity. From her minimalist short “Sorry for Your Loss” to her poetic documentary “Women in Markets,” Lo’s work reflects a keen eye for the nuanced realities of multicultural existence. In this exclusive interview with Indie Shorts Mag, we delve into the mind of this emerging director, exploring the influences that shape her craft and the stories she’s determined to tell.
Indie Shorts Mag: As a Taiwan-born, Brooklyn-based filmmaker, how has your multicultural background influenced your storytelling and directorial approach?
Chyan Lo: Taiwan and New York are indeed very different places. When I was creating my work, I didn’t realize that the concept of the afterlife might be relatively unfamiliar in a Western religious context. This topic didn’t present any creative obstacles for me. However, moving to New York has significantly influenced my understanding and awareness of my status or role within a social structure. Compared to Taiwan, which is more monocultural, the shift in social position in New York has provided me with many new insights. Especially also as a documentary filmmaker, I believe this kind of realization and learning is extremely important.
Indie Shorts Mag: Your short film “Sorry for Your Loss” explores women’s stories, death, and limbo. Can you tell us more about what inspired this minimalist approach to such complex themes?
Chyan: I chose to write this story from an afterlife perspective, as most narratives of this kind typically center on the fear and experiences of the victims before and during the crime, as well as the grief of their families. However, I imagined myself as the woman who couldn’t return home safely, and considered what I would want to express to the world if I had the chance to speak after the incident. What would my feelings be?
The most sorrowful feeling I imagined was a sense of powerless emptiness. The living lost her, but she lost the entire world. I believe this void can only be conveyed through subtlety and implication, which is why I chose this approach.
Indie Shorts Mag: “Women in Markets” takes a poetic approach to explore gendered divisions of labor. How did you go about collecting and curating the monologues of East Asian women in Chinatown for this documentary?
Chyan: I wandered around various East Asian markets and neighborhoods in New York alone with my camera. I wasn’t always certain about the conversations I was capturing. This uncertainty made the editing process particularly intriguing as I often stumbled upon new elements such as the clinking of coins or vendors calling out. In the supermarket, I engaged in conversations with these women, asking about their dinner plans and for whom they were cooking. Some shared how they prepared meals daily for a family of five, often laughing and remarking, “Of course, it’s exhausting”. I anticipate the viewers to analyze the content and consider the context behind this “involuntary voluntary labor,” acknowledge the phenomenon and think about it.
Indie Shorts Mag: Your recent work “Yesterday I Dreamt About” deals with the struggles of an immigrant artist in New York. To what extent does this story reflect your own experiences or those of people you know?
Chyan: The inspiration for this story came from friends around me. New York City, with its ever-present symphony of meetings and farewells, is a place where many make the bittersweet choice to wander or depart unwillingly. I believe the joys and sorrows of these human connections carry great weight, and they also reflect my feelings when I left Taiwan. Interestingly, I am currently in the process of applying for a visa, hoping to stay, and striving not to become a character in my own story, haha!
Indie Shorts Mag: You’ve worked in various roles including camera and art direction. How do these experiences inform your work as a director?
Chyan: I enjoy the flexibility of transitioning between different roles. Especially as a director, understanding the responsibilities of various departments makes communication much easier. I’m also a quick learner, so shifting between roles is actually quite enjoyable for me. One month I could be editing, and the next I might be on set, each professional perspective offering valuable opportunities for learning and comparison.
Indie Shorts Mag: Can you tell us about your experience as art director on “Problematic” and “Singing in the Lifeboat”? How do you balance your roles in different productions?
Chyan: Both of these works are deeply cultural and reflect the unique style of the director. It has been an honor to be a part of them. I thoroughly enjoy working with a small team, and due to budget considerations, many elements are handmade. Though it’s exhausting, it’s also very interesting. Switching roles in different productions isn’t difficult for me; I just focus on the tasks I’m responsible for. The advantage of handling multiple roles is that you can anticipate what the director might need and what the cinematographer cares about, allowing you to perform more precisely.
Indie Shorts Mag: Your work seems to be inspired by magical realism, feminism, and slow cinema. Can you elaborate on how these influences manifest in your films?
Chyan: I think I am drawn to and subconsciously use these creative styles because they offer a way to tell stories that are very detailed, restrained, and subtly nuanced. Magical realism, for example, is a product of living under authoritarian regimes, and it uses metaphysical spaces to achieve a sense of freedom and critique. It is poetic, gentle, yet brave and poignant, which is why I am so captivated by this style.
I enjoy using these techniques and metaphors to tell stories, and I also like allowing the audience to freely interpret and deconstruct them.
Indie Shorts Mag: As someone interested in exploring Taiwanese national and cultural identity, what unique perspectives do you hope to bring to the global film landscape?
Chyan: Taiwan’s political difficulties are indeed multifaceted. I hope to raise awareness about Taiwan as an independent country and highlight the threats and bullying we face from the PRC. This issue runs contrary to modern mainstream values. While many countries strive to diminish nationalism, we are working to build a strong Taiwanese identity and unity. I hope the complexity behind this can help more people understand our situation.
Indie Shorts Mag: How has your MFA in film from CUNY, City College of New York shaped your approach to filmmaking?
Chyan: Although I initially started in the fiction track, I also took many documentary courses and discovered my love for creating documentaries, which really opened a new door for me. More importantly, I met many wonderful creators and friends there.
Indie Shorts Mag: What challenges have you faced as a female director in the industry, and how have you overcome them?
Chyan: When I first entered the Taiwanese film and television industry, the male-dominated set was not necessarily a friendly work environment for young women. We were seen as “young women” first and “professional filmmakers” second. We had to face a lot of intentional and unintentional discrimination and harassment. Unfortunately, I have never overcome these difficulties because they continue to occur. However, it is precisely because of this that I hope to continue showcasing women’s perspectives and stories in my work.
Indie Shorts Mag: Can you share more about your creative process when developing a new project, whether it’s a fiction or documentary film?
Chyan: In fiction writing, my process is often long and arduous. I like my characters and stories to be intricate, detailed, and multidimensional. On the other hand, I’m accustomed to thinking about camera movement and framing while writing, so pre-production tasks like storyboarding don’t take as much time as writing. I also enjoy being on location, experiencing the space firsthand, and adjusting on-site.
Indie Shorts Mag: Looking ahead, what types of stories or projects are you most excited to tackle in the future?
Chyan: I’m actually quite eager to create some non-narrative, more experimental films. At the same time, I have ideas for both documentaries and narrative films. I want to explore more stories of immigrant women, not just in New York but also in Taiwan, where there are many immigrant domestic workers. I have always been fascinated by these “invisible” stories.
As our conversation with Chyan Lo draws to a close, it’s clear that her journey as a filmmaker is far from over. With plans to tackle experimental films and delve deeper into the stories of immigrant women both in New York and Taiwan, Lo stands at the precipice of an exciting new chapter in her career. Her unique perspective, shaped by her experiences straddling Eastern and Western cultures, promises to bring fresh, nuanced narratives to the global film landscape. As Lo continues to navigate the challenges of the industry and push the boundaries of her craft, one thing is certain: her voice is one that demands to be heard, offering viewers a window into worlds both familiar and unexplored. For those seeking cinema that challenges, enlightens, and connects across cultural divides, Chyan Lo is undoubtedly a filmmaker to watch.
