Sophia Wong Boccio was born and raised in Hong Kong by parents who were part of Hong Kong's film industry from the 1950's through the 70's. Her father Wong Tsao-she, or Wang Zhao-xi was an award-winning editor with the Motion Picture and General Investment Co.Ltd, later reorganized as Cathay Organization (HK) Ltd., and her mother Yu Wan-fei, an actress with Sil-Metropole Organization Ltd. Growing up “on the sets” of these film studios, Sophia became both interested in, and an advocate of, Asian film.
In the early 1990's, while working as the Beijing-based Country Director of a U.S. agribusiness trade association, Sophia launched a SOPHIA'S CHOICE movie series in Beijing, setting the stage for this current endeavor. In collaboration with the China Film Export & Import Corp., SOPHIA'S CHOICE brought Chinese films and cultural exchange with the films' actors and directors to Beijing's expatriate and diplomatic community.
In the late-1990's, during a two-year residency in Sydney, Australia, Sophia curated two independent retrospective Chinese and Hong Kong film festivals on behalf of the Hong Kong Economic & Trade Office and the People's Republic of China Consulate in Sydney. In 1999, Sophia also became the Hong Kong Consultant for Italy's Udine Far East Film Festival (FEFF) and continues to support the festival as the official Cantonese (and also Mandarin) Chinese translator for the festival's VIP guests.
In 2000, Sophia relocated to Chicago with her husband, Michael, and they have made Chicago their permanent home. Inspired by Chicago's diverse and vibrant culture, Sophia applied her business acumen to supporting Chicago's arts community as Managing Director of the Chicago International Film Festival (2000-2007), Executive Director of Fulcrum Point New Music Project (2007-2013), and Managing Director of Redmoon Theater (2013-2014).
Sophia Wong Boccio is the Founder and Executive Director of Chicago's Asian Pop-up Cinema
Your parents were both members of the Hong Kong movie industry. How did this fact shape you as a person?
As the chief editor of one of the major studios in Hong Kong, my father got to work with many famous directors, like the legendary King Hu, Zhu Mu, Richard Li Han Hsiang and Wong Tin Lam. My mother, as a drama-comedian, was credited over 60 plus films, supporting many A-list actors and actresses throughout her acting career. Both of them were highly regarded by the industry and their peers because of their passion and craft. Through my parents, I have learned to always earn people's respect through good work and professionalism.
Can you give us some details regarding the Sophia's Choice
concept?
Sophia's Choice was conceived and had its “trial run” when I was working and living in Beijing in the 90s. At the time, I was the Country Director for the U.S. Wheat Associates under USDA. I noticed that none of the local cinemas were showing Chinese films with English subtitles. The foreign diplomats or expatriates could not enjoy any local films. I decided to start a film club to fill the void. I called it Sophia's Choice because it's my choice of taking on this “responsibility” servicing the international (non-Chinese speaking) communities in Beijing. At the time, the film club presented films on a bi-weekly basis – every other Friday night – since I had a full time job. Besides the screenings, I managed to connect with the filmmakers and engage them in post-screening Q&As. Most important of all, I convinced the local film bureau to accept the concept of Sophia's Choice, which served the purpose of cultivating the “foreigners” interest in learning more about the Chinese cultures through appreciation of films.
How did you end up organizing an Asian Film Festival in
Chicago?
In 2015, Chicago was one of the few cities in the U.S. that did not have its own Asian Film Festival. I felt that the general public should have better access to see Asian films on the big screen, and enjoy foreign language films by getting used to reading the subtitles. It was another void that I was passionate to take on. In my opinion, Chicago cannot be an international, culturally diverse city if it does not have its own Asian Film Festival! After leading three non-for-profits in Chicago (including seven years being the Managing Director of one of the city's oldest international-competitive film festivals), plus my ongoing relationship with film industry people through another international Far East film festival in Italy – has given me enough ammunition to incorporate a new film festival. Besides, I have waited 15 years (since my arrival in Chicago in the year 2000) for somebody else to do it….
May 16, 2018
What are the benefits and what the issues of organizing the festival in the particular city?
Since I had a professional career in non-for-profit cultural organizations for 15 years in the city of Chicago, I am backed by a strong network of friends and like-minded people. I wouldn't be able to draw the same amount of support from a new city that I didn't know. Without any major financial backings (sponsorship) except for my own family's money, I realized that I need to be patient and willing to take baby steps. Apparently like any start-up, we have our share of issues but none of them were disastrous nor undoable. While working with all volunteers including the Governing and Advisory Board, we do what we can!
Why did you choose to run it on a semi-annual basis?
It was and still is a strategic decision. Presenting the festival on a bi-annual basis creates the momentum needed to raise the awareness of the festival even with limited resources. On a yearly basis, we are presenting totally 36-40 screening events. Splitting them into two seasons also gives the organization the time it needs to adjust if and when necessary without waiting for another 12 months. Since our inaugural season in the fall of 2015, we are now in our 5th anniversary Season 10!
What is the purpose of the festival?
Our vision is to foster an appreciation for diverse Asian culture through multi-pronged mission to: cultivate an interest in and understanding of Asian cultures via a diverse offering of Asian films; connect the Asian film industry with local Chicago film students, educators and professionals; and promote Chicago as a destination for international visitors.
Can you give us some details about the team behind Asian Pop-Up Cinema?
Our Board is composed of volunteers with different ethnic and professional backgrounds. They provide the broader perspective that Sophia would need. We ask each board member to give or get a modest gift on a yearly basis to the festival. Everybody works hard to contribute in any way they can, from donating airline tickets, to underwriting printing of program books, to discounted hotel room rates, to hosting meals, to provide front of house administration at the theater when the festival is in its session, plus ongoing overview strategic planning for the organization. Besides the regular board meetings, the Board conducts a 1-day retreat every summer to have more in-depth conversations. Our in-house moderator is a directing/screenwriting professor from the internationally known film school Columbia College Chicago.
Additionally, we create a work-study internship program for art management, editing and art students to be mentored directly under Sophia, season after season. They are given the opportunity to learn hands on from A to Z the organization of an “indie” film festival, plus creating festival branding images and trailers. Since day one, we have been training and grooming strong interpreters for our non-English speaking guests. We now have a regular team of Mandarin, Cantonese, Japanese, Thai and Korean interpreters to assist with press interviews and the Q&As. We also outsource seasonal professional publicists and photographers to assist with the media relations of the festival, ensuring we are serving the press adequately.
Can you give us some details about the films' selection?
I am the programmer of Asia Pop-Up Cinema. (Eventually “Sophia's Choice” can be made up of a team of programmers. The time will come when the organization has the infrastructure to afford a big team of programmers.) I scout films on a year-round basis through film production companies and attending other film festivals and markets. The technology allows programmers to preview films on line which has made it easier to pick the right ones. My criteria of film choices are primarily contemporary films, good quality productions, and have a poignant story that is relevant to the western modern world. I also aim to have an inclusive & diverse program that there is always something for everyone! Our Audience Choice Award is truly representative of what the audience loves to see.
How is the financial situation of the festival?
The festival is financially stable and has been building a small reserve since the end of the first fiscal year. About three years ago, we started to receive recurring governmental cultural grants from Japan, Hong Kong, Taiwan and South Korea… respectively supporting the films selected from their specific countries. We maintain the autonomy to choose our films, while the various governments underwrite some of the out of pocket expenses. We hope to garner more support from additional foundations in the near future.
Can you mention some memorable moments from the festival, good and bad?
Believe it or not, I don't have any bad moments of the festival as it's my responsibility to plan thoroughly beforehand to prevent any bad moments. Even today, when the festival is entering head on with the impact and disruptions caused by the Coronavirus, I cannot say anything bad. Since we are too far ahead with all the planning that cancelling the festival is not an option, we just have to ride out this tidal wave like any other. I also feel that, at times like this, it's up to Film Festivals like us to bridge the distances when people are all homebound.
My favorite moments are directly related to the all the “first ever” – pivotal phases of the festival, like a parent watching the baby standing up the first time, taking its first step. Here they are:
First Asian filmmaker attending our film festival: Japanese director Yuichi Sato (POISON BERRY IN MY BRAIN) at the closing night film screening of our inaugural season on Dec 4, 2015.
First Tribute honoring an award-winning Hong Kong Director/Scriptwriter/Producer/Cinematographer – Herman Yau Lai-to on May 20, 2016 at Venue SIX10 (architecturally significant Spertus Institute), when we encored one of the best IP MAN franchise: IP MAN: THE FINAL FIGHT starring Anthony Wong.
First Thai film, based on students cheating over internet that has become a smash hit in the entire Asia: BAD GENIUS by director Nattawut ‘Baz' Poonpiriya. Closing Night film of our season 5 on Nov 15,2016 (Director was in attendance). His next project is going to be collaborating with Wong Ka Wai)
First BRIGHT STAR AWARDEE from South Korea, Ms. Lee Jae-in (leading actress of Opening night film, ADULTWOOD) on Sept 12,2018.
First selected film “Village Rockstar” from India that has become a nominee to enter the Oscar's “Foreign Language Film” (now renamed as “International Feature Film”)
Lastly, most rewarding for me personally was receiving an autograph by the lead actor Takayuki Hamatsu of Japanese horror-comedy ONE CUTOF THE DEAD, which has now become a classic cult, directed by Shinichiro Ueda.
How do you see the future of the festival and what are your plans for the future editions?
Asian Pop-Up Cinema has grown tremendously, from an average audience base of 20 to 100. Our number of films, countries and guests have also grown per season. I am happy to say that I have earned the trust from the film industry in Asia and no longer struggle in acquiring the films that I choose. As a non-competition festival, we can never compete with the major international competitive film festivals. We should stay on course in creating the awareness of Asian films, growing our audience base through our platform. With proper funding, we can certainly increase the number of films to be premiered aligned with the guests' attendances. The 20 minutes post screening discussion or Q&As have become an integral part of our festival. We can stay boutique or grow into a medium size organization but without a doubt we will keep growing, finding new partners and collaborators. I call the festival “Pop-Up” because I love the fluidity & mobility that a “Pop-Up Cinema” can enjoy.
