Please tell us about the projects you worked on before making ‘matters’. How did you start, and how did you learn to make films?
‘matters’ was my debut as a filmmaker, marking the beginning of my journey in cinema. This project holds deep personal significance as it not only reflects my identity but also the realities of where I come from. There have been countless remarkable films exploring themes of lost identity among immigrants, yet I felt there was a crucial issue that had not been given the attention it deserves—anti-Asian hate crime. The title and subtitles are all in lower capital which is calculated to be done in that way to express that we are minorities and we did not have power in our voice.
My philosophy as a filmmaker is that a good film evokes emotion and a great film provokes questions. My question towards the audiences who have watched and will watch ‘matters’ is that “what kind of a mirror are you to this society?”
While I was fully aware that, as my first film, ‘matters’ might not achieve the highest technical standards, I was driven by the conviction that if even one person had the opportunity to see it, it could evoke reflection, spark dialogue, or offer a sense of solace.
I pursued my formal training in filmmaking at the New York Film Academy, where I enrolled in the BFA programme. Currently, I am also studying at Columbia University, an institution renowned for its academic excellence, where I am reading philosophy. My education has been instrumental in shaping me both as a filmmaker and as a storyteller—NYFA provided me with the technical expertise and structural foundation of filmmaking, while Columbia has refined my ability to craft narratives with depth and meaning. The intersection of these two disciplines has profoundly influenced my artistic vision, allowing me to approach filmmaking not just as a craft, but as a medium for philosophical and social exploration.
Tell us about ‘matters’. How do you describe it?
This question is as vast as the ocean—it truly depends on the film and genre. Having gone through the process of making a film myself, I have developed immense respect for all filmmakers, making it difficult to single out just one. However, I greatly admire Damien Chazelle, the visionary director behind Whiplash, La La Land, Babylon, and more.
Damien Chazelle studied at Harvard, an Ivy League institution, and if I recall correctly from an interview, his first script was actually La La Land, not Whiplash. Yet, he strategically chose to create Whiplash as a proof of concept, which led him to prestigious film festivals and ultimately secured the investment for his first feature. I deeply respect his approach because he has illuminated a path that I, too, could envisage for myself.
As an Ivy League student myself, I also carry my own La La Land in my heart—a film I aspire to bring to life once I establish my name through my first proof of concept. I have just completed ‘Unveiling Shadow’—my first proof of concept film, and my second directorial piece—and begun its festival journey. Following ‘matters’, this project has taken me to places I never expected and introduced me to people I never imagined meeting. The connections and support I received through ‘matters’ ultimately helped me bring my psychological thriller, ‘Unveiling Shadow’, to fruition.
If you were given a good budget, what would be your ideal project?
I am a true lover of romance, and I can hardly wait to direct my first romantic film—my very first script, which is called ‘hard drive’, waiting for the right moment. Once I secure a substantial investment and establish my name enough to attract a strong lead cast, I will finally bring this story to life.
This project is incredibly dear to me, almost like my own child, and I cannot imagine filming it without a deep sense of trust from investors and funding teams. It is a story that deserves the right backing and creative environment to be realised in the way I have always envisioned.
Describe how you would ensure that production is on schedule. What steps would you take?
I am extremely strict when it comes to time management, always anticipating the unexpected to ensure that every possible delay is accounted for. Time is directly linked to budget, so while I factor in potential setbacks, I strictly minimise any allowance for lateness. It is essential that both the cast and crew maintain a strong awareness of time throughout the production.
To keep everything running smoothly, I instruct my assistant directors to double-check the schedule and ensure that all preparations are in place for the next scene. This includes having the set fully ready, costumes prepared, and all departments on standby so that filming can commence without delay. By maintaining clear communication and a proactive approach, I ensure that production stays on track and operates as efficiently as possible.
What was the hardest part of making ‘matters’.
The most challenging aspect of making ‘matters’ was undoubtedly finding the right actors for the roles. It can be difficult to find young performers who are as deeply committed as seasoned actors, as they are still, at the end of the day, children. However, I was incredibly fortunate to discover the perfect cast.
Zac Taewon An was beyond exceptional—it was his first time acting, yet he dedicated himself wholeheartedly to the role. He practised at home, insisting on being called “Eugene” rather than his real name to fully immerse himself in the character. After countless days of auditions, I knew he was the one the moment he walked in.
Equally, my Elizabeth, Wonhee Kim, was someone I had no doubts about from the very beginning. She embodied Elizabeth effortlessly, and I cannot thank God enough for bringing these two extraordinary souls into my life. Her passion and dedication not only elevated the film but also inspired me to reflect on the kind of philosophy I wish to uphold as a director. She possesses an incredible depth of expression in her eyes, a rare quality that truly brings a character to life.
If possible, tell us about your next work. What plans do you have for your future work?
As I briefly mentioned earlier, I have recently completed my first proof-of-concept film, ‘Unveiling Shadow’, which I am now preparing to pitch internationally to producers in the hopes of securing investment for it to become my debut feature. Filming took place in December 2024, with post-production completed by mid-February 2025. The project is now at the stage where it will be submitted to prestigious film festivals to showcase the piece and establish connections with production companies.
Logline: When a young woman with a history of hyperfixation experiences a series of bizarre occurrences, she begins to suspect she is dealing with more than just an ordinary stalker.
I am eagerly anticipating what 2025 will bring—the people I will meet, the opportunities that await, and the challenges I will navigate to bring this vision to living.
I cannot express within the knowledge of words I know how thankful I am to be with TIFF because of ‘matters’ and inviting me to this interview. I hope I could make TIFF proud soon with my outcomes and the audiences that I met through this film festival.
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