Ushmey Chakraborty brings a lighthearted point of view to a typically taboo topic in his short film Gay, Asian, Immigrant. The multi-hyphenate filmmaker not only acts as the film’s writer, director, and producer, but he also stars in this indie comedy. The result is a personal and eye-opening account of the risks and, ironically, the occasional payoffs of perpetuating a stereotype to get ahead.

Self-Degradation Comes with a Price

The film opens with an upbeat theme song, much like the beloved sitcoms from the 90s. Think, Family Matters or Full House. The theme song does more than catch our attention. It entertainingly gives us the backstory about our protagonist, Ravi (Chakraborty), a privileged Gay, Asian, Immigrant. Through a comical and brightly saturated montage, we see Ravi walking the streets of Beverly Hills as well as driving his Mercedes-Benz while the lyrics and catchy melody inform us that he comes from a life of privilege. Despite his familial wealth, Ravi seems sweet and genuine. The next scene shows Ravi at home with his date, Ben (Dre Matthews), enjoying a quiet afternoon. However, they are soon interrupted by a knock on the door from Ravi’s boss, Cheryl (Janet Carter).

Cheryl’s unexpected visit throws Ravi for a loop and unintentionally forces Ravi to confront the thing he’s been hiding: his true identity. Ravi opens the door and begins talking to Cheryl in a comically exaggerated Indian accent. To clarify, Ravi has never had an Indian accent. Ben is rightfully confused, questioning why Ravi is acting as a caricature. Ravi pulls Ben aside and explains that perpetuating the facade of being a “Gay, Asian, Immigrant” stereotype was the only way he could keep his job in a white-dominated space. Unconvinced, Ben reiterates the importance of defying these harmful expectations and stereotypes. He then issues an ultimatum: “me or the lie.”

Authenticity in Front of and Behind the Lens

For a film about exploiting perception, Ushmey Chakraborty brings a great deal of personal authenticity to the project. As a queer filmmaker, Chakraborty crafts a dialogue that is rarely covered in mainstream Hollywood: exploiting stereotypes to get ahead. The struggle with personal identity is a common theme, but Chakraborty cleverly flips the script on traditional expectations. A tight three-person cast brings out the best in this ultra indie, hitting the comical and serious tones with finesse.

Director’s Statement

Says Chakraborty, “Using the trope of a situational-comedy, I explore a theme that many People of Color feel in predominantly white rooms, which is, “code switching” – subtle changes in the way we talk and behave, just so our white counterparts don’t say anything casually racist: such as, “You speak such great English coming from India” (classic). But this time, the agency is given to the Person of Color. My primary visual motif is color: Initially, we see everything in bright, pulpy colours symbolising the fake world the protagonist has built for himself, but when the truth starts to emerge, the color fades to resemble reality. In the end, the choice is presented: live in truth or lies… hopefully, we all make the right choice.”

Takeaway

Gay, Asian, Immigrant tells an unexpectedly poignant story about the consequences of “code-switching.” Using comedy as an entry point, the film’s deeper themes of stereotypes and cultural expectations are issues worth pondering.