Filthy Asian
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Filthy Asian
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Peter Chiarelli (screenplay by) Adele Lim (screenplay by) Kevin Kwan (based on the novel "Crazy Rich Asians" by)
Peter Chiarelli (screenplay by) Adele Lim (screenplay by) Kevin Kwan (based on the novel "Crazy Rich Asians" by)
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Peter Chiarelli (screenplay by) Adele Lim (screenplay by) Kevin Kwan (based on the novel "Crazy Rich Asians" by)
Constance Wu , known for her performances in milestone projects " Fresh Off the Boat " and Crazy Rich Asians , has been nominated for a Golden Globe. What other roles has she played?
Director Jon M. Chu revealed that Michelle Yeoh was dissatisfied with the mock-up ring that her character, Eleanor, was going to wear. She showed him a ring from her personal collection and this eventually became the emerald and diamond ring Eleanor wears in the movie.
When Nick asks Rachel to go to Singapore, he says "Singapore for Spring break". This would place the timing of the film between March and April of the calendar year. However, the Tan Hua (Queen of the Night Flower), which blooms on the second night after they arrive, only blooms between July and October.
There's a mid-credit scene in which Astrid exchanges glances with a man.
In Australia, the film was passed uncut with an M rating for coarse language. The filmmakers then opted to reduce the language in order to obtain a PG classification. For the home video release the film was returned to its uncut M rating.
Waiting for Your Return Written by Hua Shen and Hong Zhao Yuan Performed by Jasmine Chen Produced and arranged by Christopher Tin
First my disclaimer. I used to date one of the girls in this film. Interestingly one of the issues with us was what you see in this film which is all the need for money and glam and fashion this and latest item that. With that said, and the lady shall remain nameless, I did not find this film so good because i have almost lived it and it doesn't have an aura for me. But there are funny moments and it may be exotic for some. People in the threater seemed to enjoy it. I say give it a shot or wait for the video, but watch it anyway.
Oh and hi 'Angel'
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This contemporary romantic comedy, based on a global bestseller, follows native New Yorker Rachel Chu to Singapore to meet her boyfriend's family. This contemporary romantic comedy, based on a global bestseller, follows native New Yorker Rachel Chu to Singapore to meet her boyfriend's family. This contemporary romantic comedy, based on a global bestseller, follows native New Yorker Rachel Chu to Singapore to meet her boyfriend's family.
Astrid Young Teo : It was never my job to make you feel like a man. I can't make you something you're not.
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Crazy Rich Asians
(2018)
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a list of 27 titles
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(based on the novel "Crazy Rich Asians" by)
Jacqueline Ling
(as Amy J Cheng)
Rest of cast listed alphabetically:
Airport Staff /
Taxi Driver
(uncredited)
Bachelor Party Guest
(uncredited)
hair stylist: Singapore / makeup artist: Singapore
hair stylist: Malaysia / makeup artist: Malaysia
hair stylist: Singapore / makeup artist: Singapore
hair supervisor / makeup supervisor
hair stylist: Singapore / makeup artist: Singapore
crowd hair supervisor: Malaysia / crowd makeup supervisor: Malaysia (as Monica Lee)
crowd hair supervisor: Singapore / crowd makeup supervisor: Singapore
hair stylist: Singapore / makeup artist: Singapore
hair & make up supervisor (uncredited)
makeup artist: background (uncredited)
post-production supervisor: Warner Bros.
first assistant director second unit
assistant art department coordinator
art department production assistant
adr mixer: Technicolor At Paramount
adr mixer: Technicolor At Paramount
supervising sound editor/re-recording mixer
re-recording mixer: Technicolor At Paramount
first assistant sound editor: Formosa Group
sound effects editor: Formosa Group
assistant sound editor (uncredited)
visual effects coordinator: Pixomondo
it systems administrator: Pixomondo
visual effects management trainee: Warner Bros.
division lead compositor: Pixomondo
it systems administrator: Pixomondo
lead production coordinator: Iloura
division matchmove supervisor: Pixomondo
visual effects executive producer: Pixomondo
division matte painting supervisor: Pixomondo
division lead matchmove artist: Pixomondo
visual effects coordinator: Pixomondo
recruitment/artist coordinator: Iloura
visual effects coordinator: Pixomondo
visual effects assistant (uncredited)
camera operator: "b" camera / director of photography: second unit
data wrangler: Malaysia (as Mohd Haniff Hashim)
second assistant camera "a" camera Malaysia / second assistant camera: "a" camera: Malaysia
key grip: Malaysia (as Sarawantal Singh)
camera operator: "c" camera / digital imaging technician
first assistant camera: "b" camera: Malaysia
second assistant camera: "b" camera: Malaysia
casting associate (as Sarah Domeier)
casting director: Malaysia / extras casting assistant
costume supervisor: crowd: Singapore
assistant editor / second assistant editor
digital intermediate post coordinator (as Eric Cheng)
senior digital intermediate producer
dailies colorist/operator (uncredited)
assistant location manager: Malaysia
location manager: Singapore (as Yeong Wing Tat)
location assistant: Singapore (uncredited)
location assistant: Singapore (uncredited)
location assistant: Singapore (uncredited)
location assistant: Singapore (uncredited)
musician: viola (as Karoline S. Menezes)
music clearance coordinator (uncredited)
music clearance coordinator (uncredited)
transportation coordinator / transportation coordinator: SIngapore
first assistant accountant: Singapore
end title artist: for Exceptional Minds [us]
feature production management trainee: Warner Bros.
head of production: Ivanhoe Pictures
financial controller / production accountant
titles artist: Exceptional Minds [us]
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Girls for sale: Indramayu's prostitution production line
Updated March 13, 2015 — 3.15pm first published at 12.00am
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Michael Bachelard is The Age's deputy editor and investigations editor. He has worked in Canberra, Melbourne and Jakarta as Indonesia correspondent. He has written two books and won multiple awards for journalism, including the Gold Walkley in 2017. Connect via Twitter or email .
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Son is the pimp from central casting. Dressed in black skivvy and pants, he's boastful and loquacious with a chunky gold ring and "Barbie Girl" for a phone ringtone.
He claims he no longer works in Indonesia's thriving sex industry, but then extols his judgment as a purveyor of girls.
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"Men like a body like a guitar," he says, appraising the form of my companion and Good Weekend photographer, Eka Nickmatulhuda.
Until last year, Son worked as a "channeller", supplying village girls from the Indramayu region of West Java to the brothels of Jakarta and Sumatra.
"Cash cows": Nur'Asiah, a sex worker in her room in Indramayu, West Java. Credit: Eka Nickmatulhuda
"If a family wanted to sell their girl, they'd usually come to me and say, 'Can you help my daughter? Can you take her?' 'Okay, what do you want?' I'd say. 'We want a house.' "
Son would then tell the parents if their desires were realistic: "A pimp can see if the girl is pretty enough, how many guests she will get per night. It's as simple as that."
The parents would get a loan and their daughter would pay it back with her labour, usually over 2 to 3 years. "They are like a cash cow, but they need to work hard," Son says.
A disproportionate number of Indonesia's prostitutes come from this one small cluster of villages in West Java. Not every girl here becomes a sex worker, but again and again in these villages we hear the same story: when an Indramayu family has a baby girl, they celebrate. They know that, if it becomes necessary in the future, she'll be able to support her whole family. Indramayu has become the region that sells its daughters.
Nur'Asiah dresses for work. Credit: Eka Nickmatulhuda
Nur'asiah is a slight 21-year-old. On the wall of her grandparents' house in the Indramayu village of Bongas hangs a picture of her as a little girl dressed up as a princess. But this young woman is herself the mother of a six-year-old son, born when she was 15. She is also a veteran of an 18-month career as a prostitute and "sexy dancer" in the King Cross bar in the north Jakarta suburb of Kelapa Gading.
"A friend from a nearby village offered me the job," Nur'Asiah says. "She was also a sexy dancer."
Class action: A teacher and pupils at a school run by anti-trafficking NGO Yayasan Kusuma. Credit: Eka Nickmatulhuda
Girls there were paid about $10 for dancing four times a night, and another $1 if her guest bought a drink. But the real money was for sex. At first Nur'Asiah only wanted to dance, but the bar owner pushed the point.
"The boss suggested I take some money for the family," Nur'Asiah says. "After he offered that, I called home, asking people here what they wanted ... I knew then that by saying yes, I'd have to do sexy dancing 'plus plus'. "
Seven-year-old Disty at the ceremony to mark the circumcision she had at birth. Credit: Eka Nickmatulhuda
The loan was 30 million rupiah (about $3000), which her family used to renovate their house and buy a motorbike and rice seeds. Money also went to support Nur'Asiah's son. She'd accompany clients back to their hotels, earning 1 million rupiah (about $100) for sex.
"The first time I was nervous and afraid because he was a stranger, and I was sad because it was not with someone I liked or loved," she says. "I feel like I was forced. I didn't like it, but I needed the money."
Sex workers at the King Cross bar in Kelapa Gading, Jakarta. Credit: Eka Nickmatulhuda
Her grandfather, Dasmin, a beneficiary of the house renovation, is comfortable with what has happened.
"She chose the job; it was her own choice," he says as Nur'Asiah looks on impassively. "But the most important thing is that she did it for the family."
For perhaps 30 years Indramayu has been exporting its daughters, from the age of 15 or 16 up, to brothels across Indonesia. Though this course of action is so common that there is very little stigma, officially it's frowned upon. In 2007, Indonesia banned the traffic in girls under 18. But the industry adapted, and these days many young Indramayu girls are recruited by their friends, says Sukim, a former pimp who now works at Yayasan Kusuma Bongas, a non-government organisation devoted to fighting the recruitment of sex workers.
Middlemen still play a role behind the scenes, but if the first suggestion of a career in prostitution is made to a new girl by her friend, the real traffickers can plausibly deny their involvement. The rest of the model is unchanged: girls are still pressed to take loans, which are then used as a tool by the pimps and madams, who are all called Mami, to keep them loyal.
The first money is small and goes directly to the new recruit to buy clothes, make-up and a trip to the "magic man", or dukun . Many Indonesians hedge their bets between Islamic observance and village magic, but, for practical purposes, they place greater faith in the latter. The dukun performs a ritual which they believe symbolically implants a diamond in the girl's body, "to make her prettier and more desirable", Sukim says.
The pimp or channeller then goes out of his way to extend the loan, "pampering the parents" to create an ongoing debt. The parents outdo each other to build the most enviable house in the village. The houses act as a marketing tool to lure other families into the trade.
"Who were the most successful people? Sex workers," says Sunenti, another girl who took the bait. For the girls, though, the debt is a burden. Many sex workers live in dormitories guarded by brothel staff. "It's not easy to go out, even on your day off or to go shopping, because security guards go with you," says Nur'Asiah. "They follow you to make sure you don't run away or go to work in another bar."
Ask people here why they sell their daughters and the answer is faktor ekonomi - economic reasons. Indramayu is sustained by three industries: rice growing, sending people to countries such as Saudi Arabia and Malaysia as migrant labourers, and remittances from sex work.
In the vast rice fields, people toil in the wilting sun for just 30,000 rupiah - around $3 - per day. Even in this slow-speed rural economy, it's barely enough to survive, much less buy a house. Offshore migrant labour means years away from home, and the horror stories of mistreatment, including rape, are legion.
There are no factories in Indramayu and the education system is so poor that few people are qualified for even the most basic white-collar job. According to Sukim, everyone has access to primary school but
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