Last spring, at the 65th SFFILM Festival, we paid tribute to cinematic icon Michelle Yeoh, who wrapped up the year by earning an Oscar nomination. Will she finally win big at the 2023 Academy Awards?
Michelle Yeoh. Photo by Pamela Gentile.
In April 2022, SFFILM welcomed Michelle Yeoh to the 65th San Francisco International Film Festival for a special tribute to the enduring icon, which was hosted by award-winning actor Sandra Oh. In a joyful and wide-ranging onstage conversation, the pair celebrated the career and gifts of this unparalleled international movie star. Yeoh carved out a now-legendary path in Hong Kong cinema in the late ‘80s and throughout the ‘90s, performing her own stunts in action films like Yes, Madam (1985), Police Story 3: Super Cop (1992), and Holy Weapon (1993).
Then came the release of director Ang Lee’s Academy Award-winning Crouching Tiger, Hidden Dragon. Whether you saw the film when it premiered in 2000, or joined SFFILM at the Castro Theatre for your first Crouching Tiger, Hidden Dragon viewing in the lead-up to the tribute, it’s clear why Yeoh gained critical recognition worldwide after this starring role. A standout supporting role in a little 1997 Bond film called Tomorrow Never Dies introduced her to even more audiences.
Called “one of the great international movie stars of the past quarter-century” by New York Times chief film critic A.O. Scott, Michelle Yeoh is a singular, tenacious talent—and that’s exactly why we honored her career last year. After decades of memorable roles, Yeoh has now earned an Academy Award nomination for Best Actress in a Leading Role for her formidable performance in The Daniels’ (Daniel Kwan and Daniel Scheinert) multiversal gut-punch Everything Everywhere All at Once. Will Michelle Yeoh win an Oscar on Sunday, March 12? SFFILM believes so—and forecasted it nearly a year ago.
Michelle Yeoh in Conversation with Sandra Oh at the 65th SFFILM Festival. Photo by Pamela Gentile.
Has Michelle Yeoh Been Nominated For An Oscar Before?
Despite her impressive and enduring career in film, Michelle Yeoh has never been nominated for an Oscar before. Even her BAFTA nomination for Crouching Tiger, Hidden Dragon didn’t push the Academy to recognize Yeoh over two decades ago. Now, with Everything Everywhere All at Once—the most-nominated film at the 2023 Oscars—Michelle Yeoh is finally being given the recognition she has long deserved on the awards circuit.
At the Golden Globes, Michelle Yeoh became the first Malaysian actor to win Best Performance by an Actress in a Motion Picture—Musical or Comedy. This is also Yeoh’s first time being nominated for the Critics’ Choice Awards, and her second BAFTA nomination. Her role as Evelyn Wang, the laundromat owner who’s just trying to navigate an IRS audit when she’s pulled into a multiverse-spanning adventure, is a career-defining one. And that’s saying something given Yeoh’s decades’ worth of accomplishments.
The role has landed her numerous awards from critics associations, in addition to that Golden Globe, and her fellow Everything Everywhere All at Once Oscar nominees—Ke Huy Quan, Jamie Lee Curtis, and Stephanie Hsu—have all earned accolades for their ensemble work in the film. Most recently, Michelle Yeoh became the first Asian woman ever to win any individual category at the Screen Actors Guild Awards (SAG Awards). She won the honor for Outstanding Performance by a Female Actor in a Leading Role, of course. But does that SAG win—both as an individual and as a member of the year’s most outstanding cast—indicate a promising night at the Oscars?
Fans outside the Castro Theatre for the Tribute to Michelle Yeoh in Conversation with Sandra Oh. Photo by Pamela Gentile.
Can Michelle Yeoh Make Oscar History?
When Academy Award nominations were announced in January, Michelle Yeoh became the first Malaysian person, and the first Southeast Asian person, to be nominated for a Best Actress Oscar. She’s also the second woman of Asian descent to be nominated in the category, with the first being biracial actor Merle Oberon. Nominated for her role in The Dark Angel in 1936, Oberon felt the need to conceal her biracial identity due to the pervasive racism in the studio system.
If Michelle Yeoh wins, it will be a landmark moment in film history. “[Other Asian folks] come up to me and they say, ‘You’re doing it for us’,” Yeoh said in an interview with TIME, which named her an icon of the year. And as the 2023 Oscars near, Yeoh is emerging as the category frontrunner. Even so, some film critics and cinephiles are still betting on two-time Oscar-winner Cate Blanchett (The Aviator, Best Supporting Actress; Blue Jasmine, Best Actress) to nab the award again for her starring role in Tár.
SFFILM Director of Programming Jessie Fairbanks, Michelle Yeoh, and Sandra Oh onstage at the 65th SFFILM Festival. Photo by Pamela Gentile.
After receiving news of her nomination, Yeoh told Deadline that the most important part of her Oscars push was that it could show others, especially other Asian actors and filmmakers, that they can do it, too. “I’m very ordinary. I just work very hard,” Yeoh said. “There are so many brilliant actresses [and] actors out there who know that they have a seat at the table. All they have to do is find an opportunity and get there.”
So, can Michelle Yeoh make history? SFFILM thinks she can! And if Yeoh wins, we’ll be dancing just like she and Sandra Oh danced on stage at the Castro Theatre last year. It was a privilege to honor you, Michelle. You’ve got this—in every universe!
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FilmHouse Resident Ed Ntiri on sounds and their connection to filmmaking
“The ear is much more creative than the eye.”
— Robert Bresson
“Back in the days when I was a teenager,
Before I had status and before I had a pager,
You could find the Abstract listening to hip-hop,
My pops used to say, it reminded him of be-bop,
I said, “Well daddy, don’t you know that things go in cycles?”
— Q-Tip (A Tribe Called Quest)
Sound as Character in “A Lo-Fi Blues”
by Ed Ntiri
When people share their favorite moments from the films they love, they’ll often talk about images. For me, it’s always been sounds. Like in The Battle of Algiers, when the intensifying sound of drumbeats heightens the tension of the three women planting their bombs. Or how Walter Murch used the shrieking sound of a subway car to amplify the infamous restaurant scene in The Godfather where Michael Corleone kills the man who tried to kill his father. Or Robert Bresson’s A Man Escaped, where all I remember from the film is the sound of cups clanking against a hand-rail, amplify the haunting monotony of being trapped in a prison cell.
Each of these moments resonate with me more than images themselves ever have. Films are as much a sonic experience as they are a visual one. That’s why when I began to develop my first film, I focused on sound before script, images, or casting.
Our film, A Lo-Fi Blues, is the story of an aging blues musician who believes that his late wife is trapped inside of a song. The film follows his relationship with a young lo-fi hip-hop producer whose ability to sample music becomes the only thing that can save her.
My fascination with sound started early. I grew up in New York during the golden era of hip-hop music, and its ethos informed nearly every aspect of my personal and professional life. It taught me the importance of voice, how limitations can become strengths, and the value of community. Officially, there are four elements that make up hip-hop culture: the emcee, the DJ, the graffiti artist, and the break-dancer. The one they always forgot, in my opinion, was the producer.
Producing hip-hop music seems simple, but it’s actually a science. The sample-based method involves finding old albums, carefully selecting bits and pieces of them, and creatively processing and re-arranging them into new compositions. Sampling, when done creatively, breathes new life into old songs. So, a tune like Art Blakey and the Jazz Messengers’ “A Chant for Bu” becomes A Tribe Called Quest’s “Excursions.” Or, you find a record like Roy Ayers’ “Searching” only to later hear Pete Rock flip it into his bass-heavy interpretation.
Developing the story and the sound of the film began with an exploration into the ways that hip-hop evolved from jazz, which evolved from the blues, which evolved from spirituals, which were the only way slaves could keep their language when they were taken from the shores of West Africa. The frequencies within our music hold this history. As I developed a closer relationship with the records that I would sample, I became fascinated with the idea of music as a language we unconsciously carry.
The SFFILM Makers community has helped tremendously with developing a script to support our sound. As a musician, I treat each version of the script as a remix, which we continue to evolve until the tone sounds right. Embedded within the script is the music that we’ve developed with our music supervisor, Jason “Asonic” Garcia, and SmartBomb, a collective of lo-fi musicians here in Oakland.
The majority of the characters in our film are already musicians, so part of our process has been how to create a distinct sound for each of them. We started by writing music profiles for each character, including their favorite albums, mixtapes they’ve made for friends, and a list of three albums each of them would bring if they were stranded on a deserted island.
A film I thought of a lot while having these discussions is another film shot in the Bay Area, American Graffiti. What I love about this early George Lucas film is that every character is listening to the same radio station throughout the night, turning music (in his case, early Rock ‘n Roll) into a character of its own.
In A Lo-Fi Blues, we’ve taken a similar approach. We created our own fictitious podcast that everyone in our film listens to on various devices. Unlike American Graffiti, which was made when licensing songs was much cheaper, we are not licensing anything. We decided that since we’re all musicians anyway, that we’ll create our own score.
Using our connections to the music community in Oakland, we began composing all of the original jazz, soul, and blues music that you’ll hear throughout the film. For example, when we introduce Leonard, we’ll hear this record. We’re also composing the beats that the young producers make from samples of the songs made for the film. When we’re in the studio with one of the younger beatmakers, you’ll hear one of their actual beats playing. The idea is that even if you choose to watch our film with your eyes closed, you would hear sounds progress, distort, and transform, which embodies our theme of letting go and embracing new life
The camera is a tool of magnification. A wide shot establishes a scene. A close-up makes you feel closer to what a person is thinking. A handheld shot can give an impression of chaos or uncertainty. Sound achieves the same. The amplification of inaudible sounds is the magic of sound design. The creative manipulation of sound can be as impactful as a great line of dialogue, or a beautifully composed image. We should employ this magic and give our ears a treat so that they can go on adventures as rich as those designed for the eye.
Images dominate our consciousness. We intake more images today than at any other time in history. When you sit down and watch a film, the experience is made up of the juxtaposition of both images and sound. To study their craft, some cinematographers will watch a film on mute, in order to isolate the image. To study my craft, I often close my eyes when a film is on, to see how the story plays out in sound.
In an interview in Robert Bresson’s book Bresson on Bresson, he explains that if you can replace an image with a sound, always use the sound. Because the ear is more creative than the eye. As storytellers, it’s our job to invoke all of the senses in order to give viewers an emotional experience that they’ll always remember, in more ways than one.
Ed Ntiri is a writer, photographer, and filmmaker who has been based in the Bay Area since 2007. His work has been featured in Vice, WaxPoetics, the Oakland Museum, and the Berkeley Art Museum. In 2017, Ntiri wrote and directed his first short film, Snow Mountain, which won audience choice awards at the SF Urban and Liberated Lens film festivals. His first feature, A Lo-Fi Blues, was awarded a SFFILM Rainin Grant for screenwriting in 2019. He is currently completing a SFFILM FilmHouse Residency in 2020.
Stay In Touch With SFFILM
SFFILM is a nonprofit organization whose mission ensures independent voices in film are welcomed, heard, and given the resources to thrive. SFFILM works hard to bring the most exciting films and filmmakers to Bay Area movie lovers. To be the first to know what’s coming, sign up for our email alerts and watch your inbox.
