Author: Quentin Lee

It’s no wonder that Weapons is a hit at the U.S. box office as the movie arrives at the perfect time when our political fears manifest every day in America where we feel helpless to talk about. Now there is a horror movie that answers to our worst nightmare—school mass shootings.

When I saw Josette Jorge win a Canadian Screen Award earlier this year, I was overjoyed to see a fellow Asian Pacific Islander friend receive such recognition. An actor, writer, and educator based in Toronto, Josette earned her first Canadian Screen Award in 2025 for Best Supporting Performer in a Children’s or Youth Program for Ruby and the Well. Last year, my producing partner Cindy Au Yeung and I also received a Canadian Screen Award—Best Comedy Special—for our series Comedy Invasio

Jenifer Yeuroukis, a filmmaker friend I’ve met about a decade ago in my hip hop classes at the former Edge Performance Art Center in Los Angeles, has just directed her first feature film The Queerdos that I executive produced. The Queerdos also marks the first feature film of the film movement Dogma LA 25 that a collective of filmmakers and I have founded. Wrapping The Queerdos, I’ve taken the opportunity to have a conversation with her.

Even though I grew up in the 80s, Jack Sholder’s 1982 first feature Alone in the Dark slipped past my horror radar, until last night, in the year of The Thing, Creepshow, Amityville Possession, Halloween III, The Entity and Poltergeist which I have all watched and enjoyed as a budding horror fan entering teenhood. I have been curious about the original key art of the 1982 movie, searched for the film and found a screener on Youtube. I believe Alone in the Dark was probably one of Bob Shaye’s first couple of original New Line Cinema productions.

Returning to the city where I was born, Hong Kong, I met up with artist Chow Ciao Chow whom I first knew as Steven and a fashion design student. After years of having lost touch, we reconnected via Instagram and he told me we met years ago through a mutual friend and hung out in Hong Kong. Returning to this amazing city, I took the opportunity to interview this rising artist with a uniquely queer and Asian perspective.

Last year, Colette Johnson-Vosberg’s Unusually Normal world premiered at Inside Out. This year, she is world-premiering her LGBTQ+ follow-up feature doc Unlabelled about three trans people from Toronto at the same festival. I caught up with my prolific collaborator after hearing the news of her film’s world premiere.

Stand with Mahmoud Khalil!

On Sunday, March 2, I was enjoying a glass of champagne and popcorn while watching the 2025 Oscars show with my family. Conan O’Brien began with a polite greeting in fluent Spanish, followed by something in Hindi… and then proceeded to speak gibberish Chinese.

When I first landed in San Francisco in 1988 to go to school at Berkeley, I wasn’t planning on staying. Perhaps around Junior Year, after I came out as queer and then started identifying with Asian Americans, as most of my friends were… I thought that I might want to stay… but I didn’t know how.

If Bram Stoker gave birth to the vampire in literature, then Nosferatu gave birth to the vampire in cinema. Nosferatu is the first vampire who protagonized cinema in 1922 during the silent era, the very beginning of cinema. F. W. Murnau’s Nosferatu (1922) distinguishes itself from Bram Stoker’s classic by asserting love and eroticism, rather than violence, defeats the vampire and its evil.