‘I’m Still Here’: Joan Chen Plays Thwarted Immigrant Mom in ‘Didi'

Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
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‘I’m Still Here’: Joan Chen Plays Thwarted Immigrant Mom in ‘Didi'

Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)

Long before Joan Chen charmed Western audiences with seductive turns in "The Last Emperor" and "Twin Peaks" she was a child star in China, hand-picked for her debut movie role by Mao Zedong's wife.

That remarkable personal journey, from Red Army propaganda movies to glamorous Hollywood roles directed by Bernardo Bertolucci and David Lynch, could not appear more different to Chen's character in new coming-of-age film "Didi."

Chen plays Chungsing, a Taiwanese single mom and frustrated artist in California, whose 13-year-old is too busy trying to impress his skater friends and navigate adolescent crushes to be nice to his family.

Yet the role -- which is already earning Oscars buzz -- "poured out of me, because that's the life I've lived," Chen told AFP.

"I am, like Chungsing, an immigrant mother, who raised two American children -- with such an intimate, loving relationship, but also fraught with cultural chasm, misunderstanding, unmet expectations," she said.

It all started for Chen, aged 14, when she was spotted by a film director who worked for Chairman Mao's wife Jiang Qing.

"The director picked me out of school, then sent my dossier and my pictures for her to approve," recalls Chen.

"I was so happy that I happened to be the type that they needed. It wasn't my dream. I never thought about it, when they picked me to be an actress. And then slowly, I learned to love it."

She quickly became a beloved movie star in 1970s China -- a job that spared her from being sent to work in rural provinces during the devastating Cultural Revolution.

Chen moved to the US at age 20, studying film but skeptical about her prospects as an Asian woman in Hollywood.

She landed a lead role in Bertolucci's "The Last Emperor," as the wife of China's final dynastic ruler. The film won nine Oscars, including best picture.

Yet Chen, now 63, recalls: "Back then, there just weren't any Asian filmmakers or scriptwriters who could create a part for me."

"I could have been this ingenue, this breakout new lead (actress)... So that was a shame. Nothing could really follow up."

- 'Still here' -

In "Didi," out in theaters on August 16, Chen's character is a talented artist who had to forsake her ambitions for her family, in their new country.

Chungsing is stoic, quietly bearing her disappointment while devoting herself to her frequently oblivious, Americanized children.

Unlike her character, Chen continued to work prolifically through parenthood, acting and directing in both the US and Asian film industries.

Chen's part as femme fatale Josie Packard in "Twin Peaks" remains popular with fans of the cult TV series to this day.

But her Western roles have failed to match the success of her early career.

And she still reflects on the "night and day" difference between her daughters' experience growing up in the West, and her own arrival in the United States as an immigrant, with "that uncertainty of the ground you're standing on."

"The pains and joys we see in the film is a lived experience for myself as well," said Chen.

With "Didi" winning awards at the Sundance film festival, there are hints of a late-career comeback. Chen and director Sean Wang are earning mentions as dark horses for the next Academy Awards.

"I am so thrilled that young filmmakers like Sean exist... when there are enough scriptwriters, directors, then you create more parts for people who look like them," she said.

"It's wonderful. And I'm so happy that I'm still here."



Sony Buys a Majority Stake in the ‘Peanuts’ Comic for $457 Million from Canada's WildBrain

Sony Corp. President Kenichiro Yoshida speaks as characters from "Peanuts" are shown at a press conference at the company's headquarters Tuesday, May 22, 2018, in Tokyo. (AP)
Sony Corp. President Kenichiro Yoshida speaks as characters from "Peanuts" are shown at a press conference at the company's headquarters Tuesday, May 22, 2018, in Tokyo. (AP)
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Sony Buys a Majority Stake in the ‘Peanuts’ Comic for $457 Million from Canada's WildBrain

Sony Corp. President Kenichiro Yoshida speaks as characters from "Peanuts" are shown at a press conference at the company's headquarters Tuesday, May 22, 2018, in Tokyo. (AP)
Sony Corp. President Kenichiro Yoshida speaks as characters from "Peanuts" are shown at a press conference at the company's headquarters Tuesday, May 22, 2018, in Tokyo. (AP)

Happiness is taking control of a beloved comic strip.

Sony is buying a 41% stake in the Charles M. Schulz comic “Peanuts” and its characters including Snoopy and Charlie Brown from Canada's WildBrain in a $457 million deal, the two companies said Friday.

The deal adds to Sony's existing 39% stake, bringing its shareholding to 80%, according to a joint statement. The Schulz family will continue to own the remaining 20%.

“With this additional ownership stake, we are thrilled to be able to further elevate the value of the 'Peanuts' brand by drawing on the Sony Groupʼs extensive global network and collective expertise,” Sony Music Entertainment President Shunsuke Muramatsu said.

“Peanuts” made its debut Oct. 2, 1950 in seven newspapers. The travails of the “little round-headed kid” Charlie Brown and pals including Linus, Lucy, Peppermint Patty and his pet beagle Snoopy eventually expanded to more than 2,600 newspapers, reaching millions of readers in 75 countries.

The strip offers enduring images of kites stuck in trees, Charlie Brown trying to kick a football, tart-tongued Lucy handing out advice for a nickel and Snoopy taking the occasional flight of fancy to the skies. Phrases such as “security blanket," “good grief” and “happiness is a warm puppy” are a part of the global vernacular. Schulz died in 2000.

Sony acquired its first stake in Peanuts Holdings LLC in 2018 from Toronto-based WildBrain Ltd. In Friday's transaction, Sony's music and movie arms signed a “definitive agreement” with WildBrain to buy its remaining stake for $630 million Canadian dollars ($457 million).

Rights to the “Peanuts” brand and management of its business are handled by a wholly-owned subsidiary of Peanuts Holdings.

WildBrain also owns other kids' entertainment franchises including Strawberry Shortcake and Teletubbies.


‘Sinners,’ ‘Wicked: For Good,’ ‘KPop Demon Hunters’ Advance in Oscars Shortlists 

US film director Ryan Coogler poses on the red carpet upon arrival for the European Premiere of "Sinners" at Cineworld Leicester Square, central London, on April 14, 2025. (AFP)
US film director Ryan Coogler poses on the red carpet upon arrival for the European Premiere of "Sinners" at Cineworld Leicester Square, central London, on April 14, 2025. (AFP)
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‘Sinners,’ ‘Wicked: For Good,’ ‘KPop Demon Hunters’ Advance in Oscars Shortlists 

US film director Ryan Coogler poses on the red carpet upon arrival for the European Premiere of "Sinners" at Cineworld Leicester Square, central London, on April 14, 2025. (AFP)
US film director Ryan Coogler poses on the red carpet upon arrival for the European Premiere of "Sinners" at Cineworld Leicester Square, central London, on April 14, 2025. (AFP)

Ryan Coogler’s bluesy vampire thriller “Sinners,” the big screen musical “Wicked: For Good” and the Netflix phenomenon “KPop Demon Hunters” are all a step closer to an Oscar nomination.

The Academy of Motion Picture Arts and Sciences released shortlists for 12 categories Tuesday, including for best song, score, international and documentary film, cinematography and this year’s new prize, casting.

“Sinners” and “Wicked: For Good” received the most shortlist mentions with eight each, including makeup and hair, sound, visual effects, score, casting and cinematography. Both have two original songs advancing as well. For “Wicked” it’s Stephen Schwartz’s “The Girl in the Bubble” and “No Place Like Home.” For “Sinners,” it’s Ludwig Göransson, Miles Caton and Alice Smith’s “Last Time (I Seen the Sun),” and Göransson and Raphael Saadiq’s “I Lied to You.”

The “KPop Demon Hunters” hit “Golden,” by EJAE and Mark Sonnenblick, was another shortlisted song alongside other notable artists like: Nick Cave and Bryce Dessner for “Train Dreams”; John Mayer, Ed Sheeran and Blake Slatkin for the “F1” song “Drive”; Sara Bareilles, Brandi Carlile and Andrea Gibson for “Salt Then Sour Then Sweet” from “Come See Me In the Good Light"; and Miley Cyrus, Simon Franglen, Mark Ronson and Andrew Wyatt for “Dream as One” from “Avatar: Fire and Ash.” Diane Warren also might be on her way to a 17th nomination with “Dear Me” from “Diane Warren: Relentless.”

One of the highest profile shortlist categories is the best international feature, where 15 films were named including “Sentimental Value” (Norway), “Sirât” (Spain), “No Other Choice” (South Korea), “The Secret Agent” (Brazil), “It Was Just an Accident” (France), “The Voice of Hind Rajab” (Tunisia), “Sound of Falling” (Germany) and “The President's Cake” (Iraq).

Notable documentaries among the 15 include “My Undesirable Friends: Part I — Last Air in Moscow,” “The Perfect Neighbor,” “The Alabama Solution,” “Come See Me in the Good Light,” “Cover-Up” and Mstyslav Chernov’s “2000 Meters to Andriivka,” a co-production between The Associated Press and PBS Frontline.

The Oscars' new award for casting shortlisted 10 films that will vie for the five nomination slots: “Frankenstein,” “Hamnet,” “Marty Supreme,” “One Battle After Another,” “The Secret Agent,” “Sentimental Value,” “Sinners,” “Sirāt,” “Weapons,” and “Wicked: For Good.” Notably “Jay Kelly and “Wake Up Dead Man: A Knives Out Mystery” did not make the list.

Composers who made the shortlist for best score include Göransson (“Sinners”), Jonny Greenwood (“One Battle After Another”), Max Richter (“Hamnet”), Alexandre Desplat (“Frankenstein”) and Kangding Ray (“Sirāt”).

For the most part, shortlists are determined by members in their respective categories, though the specifics vary from branch to branch: Some have committees, some have minimum viewing requirements.

As most of the shortlists are in below-the-line categories celebrating crafts like sound and visual effects, there are also films that aren’t necessarily the most obvious of Oscar contenders like “The Alto Knights,” shortlisted in hair and makeup, as well as the widely panned “Tron: Ares” and “The Electric State,” both shortlisted for visual effects. “Tron: Ares” also made the lists for score and song with Nine Inch Nails' “As Alive As You Need Me To Be”

The lists will narrow to five when final nominations are announced on Jan. 22. The 98th Oscars, hosted by Conan O’Brien, will air live on ABC on March 15.


Netflix Boss Promises Warner Bros Films Would Still be Seen in Cinemas

Netflix CEO Ted Sarandos poses during the avant-premiere of TV serie "Emily in Paris" season 5, at the Grand Rex, in Paris on December 15, 2025. (Photo by Blanca CRUZ / AFP)
Netflix CEO Ted Sarandos poses during the avant-premiere of TV serie "Emily in Paris" season 5, at the Grand Rex, in Paris on December 15, 2025. (Photo by Blanca CRUZ / AFP)
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Netflix Boss Promises Warner Bros Films Would Still be Seen in Cinemas

Netflix CEO Ted Sarandos poses during the avant-premiere of TV serie "Emily in Paris" season 5, at the Grand Rex, in Paris on December 15, 2025. (Photo by Blanca CRUZ / AFP)
Netflix CEO Ted Sarandos poses during the avant-premiere of TV serie "Emily in Paris" season 5, at the Grand Rex, in Paris on December 15, 2025. (Photo by Blanca CRUZ / AFP)

Netflix will continue to distribute Warner Bros. films in cinemas if its takeover bid for the storied studio is successful, the streaming service's chief executive Ted Sarandos said in an interview Tuesday in Paris.

"We're going to continue to operate Warner Bros. studios independently and release the movies traditionally in cinema," he said during an event in the French capital, while admitting his past comments on theatrical distribution "now confuse people".

Previously, Sarandos had suggested that the cinema experience was outdated, surpassed by the convenience of streaming.

The Netflix boss was being interviewed by Maxime Saada, head of France's Canal+ media group, in a Paris theater that was presenting Canal+'s projects for 2026, Agence France Presse reported.

Netflix only began to produce its own programs a dozen years ago, Sarandos explained, so "our library only extends back a decade, where Warner Bros. extends back 100 years. So they know a lot about things that we haven't ever done, like theatrical distribution."

In early December, Netflix announced that it had reached an agreement with Warner Bros. Discovery (WBD) to acquire most of the group for $83 billion.

However, doubts remain about whether the deal will be approved by regulators, and in the meantime television and film group Paramount Skydance has made a counter-offer valued at $108.4 billion.

If Netflix's bid is successful, it would acquire HBO Max, one of the world's largest media platforms, and it would find itself at the head of a movie catalogue including the Harry Potter and Lord of the Rings sagas, as well as the superheroes of DC Studios.