[{"data":1,"prerenderedAt":194},["ShallowReactive",2],{"article:touching-from-a-distance-communication-and-belonging-in-riceboy-sleeps":3,"page:48":121,"page:321":157},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":14,"wordCount":17,"isBlack":18,"image":19,"contributors":26,"contentHtml":31,"finalContentHtml":32,"creditsHtml":33,"pdfUrl":34,"vimeo":34,"contributorBios":35,"seo":40},1259,"touching-from-a-distance-communication-and-belonging-in-riceboy-sleeps","Touching from a distance: Communication and belonging in Riceboy Sleeps","\u003Cp>Max James Hill reviews writer-director Anthony Shim’s 2022 film \u003Cem>Riceboy Sleeps\u003C\u002Fem>.\u003C\u002Fp>\n","2022-10-10T14:40:12",2022,"Oct 2022",[12,13],6,9,[15,16],"Moving Image","Review",893,false,{"src":20,"srcset":21,"width":22,"height":23,"alt":24,"lqip":25},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-splash.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-splash-768x244.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-splash-1536x489.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-splash.jpg 1920w",1920,611,"Feature image from Riceboy Sleeps (dir. 2022, Anthony Shim)","data:image\u002Fwebp;base64,UklGRloAAABXRUJQVlA4IE4AAACwAwCdASogAAoAPu1iqk2ppaQiMAgBMB2JQBadBFaprNi7T5ldCAD+8qRh\u002FpLdwSBY2gr6frp4MtGT\u002F3tPQsMKSkwQRyBUpZiVS5plAAA=",[27],{"id":28,"name":29,"slug":30},1263,"Max James HIll","max-james-hill","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRpwAAABXRUJQVlA4IJAAAAAQBQCdASogABIAPu1orE+ppaQiMBgIATAdiWMAACxIsbLFCJfc53NrQdz59\u002FyKOdcAAP70iS0xBnWR90+ViAw2M4EVjEOKl5CypqJTMq8ZM\u002FTq+ynbY4TMu1A\u002FVbeL5vSB1cZBxn4DOrtstB9DDmTjV33XLZmxarti1mLk0nWOIZ826In80as4yGvPsQAAAAA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-feature.jpg\" alt=\"\" class=\"lqip wp-image-1261\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-feature.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-feature-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-feature-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-feature-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">Anthony Shim, \u003Cem>Riceboy Sleeps\u003C\u002Fem> (2021; Game Theory Films)\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>Riceboy Sleeps \u003C\u002Fem>is the second feature length film by Vancouver-based actor and filmmaker Anthony Shim. Originally from Seoul, South Korea, in the film Shim tells a personal story of migration and cross-cultural growing pains, following the lives of mother So-young (played by Choi Seung-yoon), and son Dong-hyun (Dohyun Noel Hwang as a child; Ethan Hwang as a teenager). Based on experiences from Shim’s own life, \u003Cem>Riceboy Sleeps\u003C\u002Fem> explores above all else the desire to connect when language fails us.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The film begins with the story of So-young’s immigration to the west coast of Canada. In Seoul, So-young was deeply in love with her husband Han Won-Shick, but her life was torn apart by his mental illness and eventual suicide. In the wake of this loss, So-young and her infant son immigrate to British Columbia, So-young bringing with her the twin trauma of losing one’s life partner and birthplace at once. This carries into So-young’s life in Vancouver, specifically small-town Vancouver — I recognized several scenes filmed in Pitt Meadows, where I grew up — where So-young’s protectiveness of her son and refusal to passively tolerate racism is seen by the parents and teachers at her son’s school as a problem with\u003Cem> her\u003C\u002Fem> that needs to be fixed. She teaches Dong-hyun to fight back against his bullies, threatening them with taekwondo. When this results in Dong-hyun being suspended from elementary school, while the administration refuses to discipline his bullies, So-young challenges the principal: ”What about emotional violence?” she implores — to no avail; mother and son exit the school dejected. In the car, So-young cleans Dong-hyun’s glasses, an act of care, and tells him about her own experiences retaliating against sexual harassment at work with a clear message: \u003Cem>don’t ever let anyone do that to you\u003C\u002Fem>.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The second and longest of the film’s three acts takes place in Dong-hyun’s late teenage years. He sheds his glasses for contacts, natural dark hair for blond dye, and the Korean spoken at home for English with his friends. Feeling disconnected from her son, So-young attempts to communicate through cooking: in the film, the sharing of meals acts both as an expression of love and an attempt at conversation. A new man in her life, Simon (played by writer and director Anthony Shim), attempts to insert himself into the family through goodwill and polite language. Dong-hyun resists, as So-young does at first, until a sudden cancer diagnosis forces her to reconsider her and her son’s future. The revelation that his mother is sick, and will probably not live to see him grow up, provokes Dong-hyun to reconnect with his mother, and they decide, together, that it is time to go back to South Korea.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The film’s final third is where \u003Cem>Riceboy Sleeps \u003C\u002Fem>comes alive. Upon arriving in Korea, the prominent lush green mountains resonate with those of the Pacific Northwest, presenting the characters with a fresh canvas upon which they may reinvent their relationship. When the two visit the house of Dong-hyun’s paternal grandparents, it is clear that the family is holding on to much unprocessed pain. Communication during their intimate dinner is fitful but gratifying; Dong-hyun’s broken Korean finds a welcoming ear in his grandfather and uncle, or 작은아버지 (\u003Cem>little father\u003C\u002Fem>), as his uncle teaches him. Drinking together, Dong-hyun is taught the traditions of a Korean meal, and So-young’s face softens into a rare state of calm.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRngAAABXRUJQVlA4IGwAAACQBACdASogABIAPu1iqE2ppaOiMAgBMB2JQBfnBDvQY3inxRHT\u002F2aD43NkPYAA\u002FFIyzwjGhZ7OUb3EKVhW+AVCqKKdJFwwTX3tIRvEJ+4q7CWUqA\u002FxrCMOLtGfjRR6cV7nEA+68pdYOlZgAAA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-secondary.jpg\" alt=\"\" class=\"lqip wp-image-1262\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-secondary.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-secondary-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-secondary-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F10\u002Friceboysleeps-secondary-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">Anthony Shim,\u003Cem> \u003Cem>Riceboy Sleeps\u003C\u002Fem>\u003C\u002Fem>\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Through spending time with his grandparents, Dong-hyun learns more about his father, who he has never known, and by doing so, Dong-hyun finally opens up and is able to connect with So-young. He is able to empathise with what she went through, and why she is the way she is as a parent. In the film’s climax, Dong-hyun literally carries his mother up a mountain to visit his father’s grave. Despite her sickness, So-young screams off the top of the mountain in both joy and pain, evoking a powerful affirmation of life. As she continues her wave of catharsis, the film’s soaring musical score floods the scene, connecting her and Dong-hyun emotionally as he watches his mother finally let go of the past.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Though \u003Cem>Riceboy Sleeps \u003C\u002Fem>is surely reflective of the experience of many Korean immigrants to Canada, writer-director Anthony Shim is not aiming to tell anyone’s story but his own. In interviews, Shim has revealed just how autobiographical the story is — a personal lens which comes across in the film’s engaging dialogue and mannered camerawork — cinematographer Christophew Lew shoots in wide lens tapestries with a camera that moves only when it needs to. The film’s score, by Andrew Yong Hoon Lee, is also crucial to the film’s success, bridging complicated emotional moments with expansive synth soundscapes.\u003Cspan id='easy-footnote-1-1259'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1259' content='Lee’s 2017 album \u003Cem>All of My Bodies, \u003C\u002Fem>produced under the moniker Holy Hum, also explores these themes, taking the form of an elegy to his own father’s passing.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> The film’s message on communication, and on the search for belonging, seems to be that it is lifelong work: Dong-hyun will have to fight just as So-young did, but hopefully he will learn from her experience and turn it into strength — with a mix of tenderness and perseverance that can weather any storm.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1259\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Lee’s 2017 album \u003Cem>All of My Bodies, \u003C\u002Fem>produced under the moniker Holy Hum, also explores these themes, taking the form of an elegy to his own father’s passing.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1259\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images:\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Anthony Shim, \u003Cem>Riceboy Sleeps \u003C\u002Fem>(2022).\u003C\u002Fli>\n\u003Cli>Ibid.\u003C\u002Fli>\n\u003C\u002Fol>\n","",null,[36],{"id":28,"slug":30,"name":29,"firstName":37,"lastName":38,"bioHtml":39},"Max James","HIll","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Max James Hill \u003C\u002Fstrong>is a writer and educator living and working on the traditional and unceded territory of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ peoples. His work involves youth advocacy, media literacy, and promoting queer spaces in the city.\u003C\u002Fp>\n",{"title":41,"robots":42,"og_locale":48,"og_type":49,"og_title":41,"og_description":50,"og_url":51,"og_site_name":52,"article_publisher":53,"article_modified_time":54,"og_image":55,"twitter_card":58,"twitter_site":59,"twitter_misc":60,"schema":62},"Touching from a distance: Communication and belonging in Riceboy Sleeps - ReIssue",{"index":43,"follow":44,"max-snippet":45,"max-image-preview":46,"max-video-preview":47},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Max James Hill reviews writer-director Anthony Shim's 2022 film Riceboy Sleeps.","https:\u002F\u002Freissue.pub\u002Farticles\u002Ftouching-from-a-distance-communication-and-belonging-in-riceboy-sleeps\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2023-09-11T00:43:40+00:00",[56],{"width":22,"height":23,"url":20,"type":57},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":61},"5 minutes",{"@context":63,"@graph":64},"https:\u002F\u002Fschema.org",[65,80,82,96,111],{"@type":66,"@id":51,"url":51,"name":41,"isPartOf":67,"primaryImageOfPage":69,"image":71,"thumbnailUrl":20,"datePublished":72,"dateModified":54,"breadcrumb":73,"inLanguage":75,"potentialAction":76},"WebPage",{"@id":68},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":70},"https:\u002F\u002Freissue.pub\u002Farticles\u002Ftouching-from-a-distance-communication-and-belonging-in-riceboy-sleeps\u002F#primaryimage",{"@id":70},"2022-10-10T21:40:12+00:00",{"@id":74},"https:\u002F\u002Freissue.pub\u002Farticles\u002Ftouching-from-a-distance-communication-and-belonging-in-riceboy-sleeps\u002F#breadcrumb","en-US",[77],{"@type":78,"target":79},"ReadAction",[51],{"@type":81,"inLanguage":75,"@id":70,"url":20,"contentUrl":20,"width":22,"height":23,"caption":24},"ImageObject",{"@type":83,"@id":74,"itemListElement":84},"BreadcrumbList",[85,90,94],{"@type":86,"position":87,"name":88,"item":89},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":86,"position":91,"name":92,"item":93},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":86,"position":95,"name":6},3,{"@type":97,"@id":68,"url":89,"name":52,"description":98,"publisher":99,"potentialAction":101,"inLanguage":75},"WebSite","critical discourse for experimental art practices",{"@id":100},"https:\u002F\u002Freissue.pub\u002F#organization",[102],{"@type":103,"target":104,"query-input":107},"SearchAction",{"@type":105,"urlTemplate":106},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":108,"valueRequired":109,"valueName":110},"PropertyValueSpecification",true,"search_term_string",{"@type":112,"@id":100,"name":52,"url":89,"logo":113,"image":117,"sameAs":118},"Organization",{"@type":81,"inLanguage":75,"@id":114,"url":115,"contentUrl":115,"width":22,"height":116,"caption":52},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":114},[53,119,120],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":122,"slug":123,"title":88,"contentHtml":33,"acf":124,"backgroundBlur":127,"seo":128},48,"home",{"background_image":125,"isBlack":18,"header_text":126},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":129,"robots":130,"og_locale":48,"og_type":49,"og_title":129,"og_url":131,"og_site_name":52,"article_publisher":53,"article_modified_time":132,"twitter_card":58,"twitter_site":59,"schema":133},"Home - 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