2023 HOLLYSHORTS FILM FESTIVAL REVIEW!
In October of 1934 Afong Moy (Celia Au) came to America and became the first documented Chinese woman to do so. Brought to the western world to be a marketing tool for the Chinese products that Americans were selling, Afong was looked at like property–nothing more, nothing less. One thing that allowed her to so greatly appeal to the men using her was her Astonishing Little Feet–and they took advantage of that from day one.
There’s not a lot of context presented to viewers in Astonishing Little Feet, and I think viewers are encouraged to conduct their own research to learn more about Afong and her time in America. I had to do some research to better understand the character, to really know what her purpose was. This film is quick, but not so much to the point–and it forces viewers to play along by bringing other information into the fold. I once had a professor tell me not to believe anything he said and to conduct my own research, and Astonishing Little Feet seems to play with this idea a little bit–asking us not necessarily not to believe what it’s telling us, but to go out and find as much information on the subject as possible.
The majority of Astonishing Little Feet is relatively low light–presenting the idea to viewers that the situation in which Afong finds herself is less than favorable. Again, we aren’t given a ton of information regarding Afong and the things that she is dealing with, but we are meant to feel for her–and the lighting allows that to happen. We are eventually given a bit more information as to why the men in the film are treating Afong the way they are, and that reason is money. That’s not really a surprise–and I also don’t think that’s what Writer-Director Maegan Huong wants viewers to focus on. It would be counterproductive to focus on the men exploiting Afong in a film about Afong–and every piece of this film is meant to lend itself to emotion and viewers being able to sympathize with our protagonist.
Interestingly enough, it feels like half of the set design is well developed and the other is a tad lackadaisical. There are effectively two halves of the set, the half with the American men and the half where Afong sits (at least throughout the majority of the short film). Between the two parties is Atung (Perry Yung), and he, in just about every sense of the word, acts as a go-between. He translates, he helps move viewers between halves of the set, and he essentially has one foot in each of the two drastically different cultures. As he transitions us back and forth viewers get to see Afong’s half: beautiful and composed (but still dark), and then the half of the American men: pretentious, a tad chaotic, and even a bit sweaty (moreso the men, but you get the point). The juxtaposition that exists in Astonishing Little Feet in this regard is breathtaking, as the attention to detail and the intent is so apparent and effective. The entire film is wonderfully constructed, but this juxtaposition is where Huong and Astonishing Little Feet shine so brightly.
Don’t expect a complete narrative when watching Astonishing Little Feet, because that’s not what you’re going to get. You’re going to get a piece of a whole, a small glimpse into the world in which we live, but more importantly that story of Afong–a woman out of place, but so important to history. You’ll be forced to conduct your own research, and you’ll be forced to do a little digging of your own. I love that about this film. While Huong presents us with a beautiful, moving film–we ultimately have to take control of our own understanding of the content. Astonishing Little Feet is, without a doubt, an astonishing short film.
Written & Directed by Maegan Huong.
Starring Celia Au, Perry Yung, Robert Brettenaugh, Max Faugno, Robert Lewis Stephenson, & Brian Wallace.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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