Writer and star Joel Kim Booster feared he'd have to 'protect' his deeply personal film from criticism. Instead, it found legions of adoring fans.
,” and he had interviewed for the project when it was at Quibi but didn’t get the gig. By the time it came back around a year into the pandemic, a big part of his life had“I was sheltering in place, super depressed, and I saw this story in a really different light,” said Ahn. “This was a film about queer Asian American friendship and joy.” Pitching producers and studio executives, he shared photos from the raucous themed parties that he and his housemates would throw.
Moreover, the film’s Austenesque themes struck a chord. “When you’re gay, you feel like you can’t possibly be discriminatory towards anybody else because you’re oppressed, but in reality that’s not the case,” said Cho. “The most intense experiences of racism, classism, sexism and homophobia happen within the community, yet we don’t ever talk about it because that would negate the idea of pride.
In the waning days of summer, production moved from New York City to shoot amid local landmarks as Ahn, cinematographer Felipe Vara de Rey and their cast and crew captured Fire Island’s textures and iconography, racing against time and tricky logistics. But in the evenings, Ahn remembers, he could hear his actors cackling over “Real Housewives” through the vents in their shared bed-and-breakfast.
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