(NYTIMES) - Nearly 40 years ago, film-maker Wayne Wang cobbled together US$22,000 and shot his debut feature on the streets of San Francisco's Chinatown.
The result was Chan Is Missing, widely considered the first Asian-American indie film and a work that managed to be at once a verite peek into a neighbourhood, a sly neo-noir buddy film, and an experimental, complex allegory about Chinese-American identity - or, at least, about the ambivalence of it.
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