The Harvest
As some cultural traditions are becoming a burden of the past, an estranged son returns home to his ailing, traditional Hmong father, only to set off a chain of events that will affect his entire family.
Interview with Director Caylee So and Writer/Producer/Actor Doua Moua
Congratulations! Why did you make your film?
CAYLEE: Growing up as a Southeast Asian American, there were no stories or no family on film that reflected that of my own. It was rare. It is still rare. But as the film industry has changed and grown, so has the voices of our brothers and sisters, stories that were often left in the dark are now finding its way to our screens. We are now seeing how important it is to be visible, to have a platform, to speak about and for a world that has always existed with us in it. I’m honored to have collaborated with the team of The Harvest, to bring to life the compelling screenplay written by Doua Moua, and to celebrate the complexities of family, love, and all the intricate things in between.
DOUA: There is a lack of Southeast Asian stories being told on the silver screen.
Imagine I’m a member of the audience. Why should I watch this film?
DOUA: You should watch this film because it’s a universal story that you can find yourself and your family in it.
CAYLEE: I'm going to quote an audience member during a screening: "I didn't want to be touched by the film, but I was." Sorry audience, next time we'll try to ask for consent...
How do personal and universal themes work in your film?
DOUA: I think family is one of the key components of the film. And each character is trying to find their own way of fitting into what fate has brought them as a family.
CAYLEE: The dissection of a family bound by cultural traditions, in a world that is new and evolving. That is the story of every immigrant family, mines included. In that way, when I first read the script, it felt too familiar.
How have the script and film evolved over the course of their development?
DOUA: It has been an 11 yr journey to get to this point. The script evolved as time passes like me as a young writer you grow and see life differently. So I would revisit the script as I evolved as a person. But as for the film, it’s definitely a collaboration between Caylee So and myself.
CAYLEE: The script was written through a male lens, so bringing a female director on coloured the world differently - especially for the women in the film. We were able to give all the characters in the family deep complexities.
What type of feedback have you received so far?
CAYLEE: People were surprised by how moved they were by a story that felt all too familiar.
DOUA: Audience Reviews:
“The best film at Santa Barbara”
“I can finally see myself on the big screen.”
“Raw with emotions, this is what diversity looks like.”
“A bold, beautiful and power film for the ages.”
“A Classic in the making.”
“A ride full of emotions, I laughed, I cried and everything in between.”
“A slice of life that is carefully hand stitched into this film.”
“A universal story that is carefully crafted.”
“A love story to an immigrant experience.”
Has the feedback surprised or challenged your point of view?
DOUA: It neither surprised nor challenged me. It definitely is a relief to hear that the film resonated with other communities and that it’s a universal story that any community can relate to.
CAYLEE: The most surprising thing is audience members who want to know what happens to the characters in the sequel. Or how much they wanted full and complete happiness for all the characters.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
DOUA: I believe the goal is to have more visibility on the film.
CAYLEE: I want the film to find its audience. For it to somehow create a dialogue.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
CAYLEE: Buyers, distributors, film festival directors and journalists.
DOU: and Film Critics.
What type of impact and/or reception would you like this film to have?
DOUA: A positive one. But mostly that this film can age well for the next generation to come.
CAYLEE: I just want to move people, for people to feel seen.
What’s a key question that will help spark a debate or begin a conversation about this film?
DOUA: Is this an Asian American story or an American story?
CAYLEE: Why is it so hard for some cultural traditions to evolve? How do we break through, break down or build a bridge for conversations?
Would you like to add anything else?
CAYLEE: Thank you.
DOUA: Follow the film on Instagram @theharvest.film
What other projects are the key creatives developing or working on now?
DOUA: Currently in talks with producers about a civil rights screenplay that I wrote.
CAYLEE: A period piece, supernatural drama, centering around new refugees - post Vietnam War.
Interview: February 2023
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
The Harvest
As some cultural traditions are becoming a burden of the past, an estranged son returns home to his ailing, traditional Hmong father, only to set off a chain of events that will affect his entire family.
Length: 1:49:40
Director: Caylee So
Producer: John Houselog
Writer: Doua Moua
About the writer, director and producer:
CAYLEE SO was born in a refugee camp in Thailand, just after her parents escaped from the reign of Pol Pot’s Khmer Rouge regime in Cambodia. When she was just three years old, her family immigrated to the United States. Soon after her high school graduation, Caylee joined the US armed forces and served in the Virginia Army National Guard for the next eight years. In between tours of duty, Caylee attended Northern Virginia Community College and George Mason University where she discovered her love of writing fiction and pursued a BA in creative writing. Caylee received her MFA in Film Directing at Dodge College of Film and Media Arts where she won Best Picture and Best Director at her school’s Cecil Awards. She is the co-founder of the Cambodia Town Film Festival, an honorary committee member of the Cambodian International Film, a recipient of the Linda Mabelot’s New Directors/New Visions Award, the Director’s Guild of America’s 18th Annual Best Female Student Director award and the 32nd annual Los Angeles County "Women of the Year" Award. Her critically acclaimed short films include Testigo Ilegal, Paulina, and Rupture. Her award-winning feature film so co-directed In The Life of Music represented Cambodia in the country's 2018 Oscar submission.
Mostly known for his work in front of the camera in films like Clint Eastwood's film "Gran Torino" and Disney's Live-Action film "Mulan". DOUA MOUA found a passion in telling his own narrative highlighting the underrepresented community in his writing. His screenplays have been on the Cape/ Black-List, named a semi-finalist on the Nicholl Fellowship, and Top 50 on Launch Pad.
JOHN HOUSELOG graduated from USC's School of Cinematic Arts with a degree in Film and Television Production. He started his career interning at Legendary Entertainment and has since moved up the ranks working as an Executive Assistant and Story Editor aiding extensively with the development of a full slate of projects set up on both the studio and independent side.
Key cast: Doua Moua (Thai), Chrisna Chhor (Sue), Perry Yung (Cher), Dawn Ying Yuen (Youa)
Looking for: distributors
Instagram: @theharvest.film
Hashtags used: #TheHarvestFilm
Website: www.douamoua.com/theharvest
Other: IMDb
Where can I watch it next and in the coming month?
Santa Barbara International Film Festival