Following the Criterion Channel’s 2021 Arthur Dong retrospective, ten films by the Academy Award-nominated documentary filmmaker have just been released by Kino Lorber with the three-disc Blu-ray Arthur Dong Collection, along with four hours of bonus features. The set includes Dong’s first independently made and previously unavailable film, Public from 1970, in a 2K restoration with a new score by his frequent collaborator, Emmy-winning composer Mark Adler.
Two other short films, 1981’s Living Music for Golden Mountains about the life of Dong’s Chinese music teacher Leo Lew, and 1982’s Sewing Woman, a poignant portrait of survival focused on the filmmaker’s own mother, Zem Ping Dong, are also included. Dong’s most recent feature—The Killing Fields of Dr. Haing S. Ngor released in 2015—a compelling profile of the Cambodian genocide survivor who went on to win an Oscar for his acting performance in Roland Joffé’s film about the atrocities of the Khmer Rouge—completes the collection.
In between, are a raft of potent films showcasing Dong’s focus on aspects the Asian American experience and LGBTQ stories, topics at the intersection of the filmmaker’s own identity. In recent years, Dong has authored coffee table books expanding upon his research for two of the films included in the collection. Firstly, 1989’s Forbidden City, USA, which celebrates the forgotten history of San Francisco’s “all-Chinese” nightclub that was hugely popular in the 1940s and ’50s. That was followed by his book to accompany his 2007 film Hollywood Chinese, which charts Asian representation both in front of and behind the camera, from the first Chinese American movie in 1917, The Curse of Quon Gwon, up to Ang Lee’s Brokeback Mountain.
Also featured in the collection is Out Rage ’69, the first episode in PBS’ 1995 four-part LGBTQ rights series, The Question of Equality. Written, directed, and produced by Dong, the 55-minute film examines the Stonewall Rebellion’s place in the gay rights movement and the causes of the subsequent rifts between activists.
Dong’s trilogy of documentaries exploring anti-LGBTQ prejudice in the United States began with 1994’s Coming Out Under Fire, based on Allan Bérubé’s book. The film remains an absorbing and insightful study of the US military’s discrimination against gay and lesbian service members in World War II up to the “Don’t Ask, Don’t Tell” Congressional hearings of 1993, told through veterans’ personal recollections. While 1997’s Licensed To Kill is an unflinching investigation into the murders of gay men that sees Dong question seven killers face-to-face about their own motivations. With several of the convicted murderers citing religion as the root of their beliefs, Dong’s 2002 feature Family Fundamentals saw the filmmaker meet with conservative Christian parents who devote their time to anti-gay teachings and politics, despite having gay children.
To mark the Blu-ray release, Arthur Dong speaks exclusively with The Queer Review’s editor James Kleinmann about his career in film and more recently as an author, what it was like to revisit the experimental 1970 Super 8 film he made while still in high school, Public, what initially drew him towards and continues to excite him about documentary filmmaking, what inspires him about the work of Arthur J. Bressan Jr. and Stanley Kubrick, and the LGBTQ+ films that have impacted him.
James Kleinmann, The Queer Review: What does it mean to you to have your life in film brought together in this way?
Arthur Dong: “It’s nothing that I had anticipated, especially given the great shifts in how media is being consumed these days. For Kino Lorber to commit themselves to physical media with my collection is remarkable. Despite the shifting tides of the business there’s still a company that says, ‘Physical media is critical’ and it is. Streaming is fine, but I miss having physical media and being able to put it in and watch it on my monitor at home. You can’t rely on streaming because films come and go at the owner’s whim. If they feel like taking it down, it’s gone. Whereas with physical media you always have it whenever you want to watch it. There’s also something appealing about it being tangible. When I segued from making films to writing books, part of the appeal of was because books are tangible and that the reader controls the experience at their own pace. Same thing with physical media. You control when you want to see it, where you want to see it, and how you want to see it. Whereas with streaming you can’t have that kind of control.”
Last time we spoke we talked about your very first film, Dance of the Lion, which you made with some of your high school classmates as a teenager, which isn’t included here, but your first independently made film, Public, is part of the collection. What is it like to revisit the film and how would you contextualize it in terms of what was to come later in your work?
“I was only 16 when I made that film and it’s never been available to the general public before because of the copyrighted material in it, particularly the music that I used, a Ligeti piece that was on the soundtrack of 2001: A Space Odyssey. It’s been shown at festivals on a one-off basis, but because of the copyright issues any screenings had to be contextualized in the film being part of my work and me being present to talk about it.”
“When Kino Lorber were putting this collection together I said, ‘Public is a film that I’m rather proud of and which still means a lot to me in terms of my work today.’ So the lawyer looked at it and said, ‘If you can get a new score then we can justify it’, because I had cobbled together and reinterpreted the images in a way that falls under fair use. So I got in touch with composer Mark Adler, who has scored four of my other films, and I said, ‘This isn’t quite what we’ve done before because of the form—it’s animated, it’s visceral, and it’s very violent in some ways—but take a look at it and let me know what you think.'”
“Mark got back to me and said, ‘Wow, I made my first film at the same age you were and during the same era. I can totally understand what you’re trying to do with this film.’ So he jumped right into it and called upon some of his musician friends, including singers because there were vocals on the original track that I’d used. He created this really stirring, kind of rough piece that’s very different from his scores for my other films.”
“Whenever I have an opportunity to show Public, I always contextualize it in terms of how young I was when I made it and the time period of the early ’70s and the cultural revolution that was going on in San Francisco at that time. This film is very much a piece from that period, but it also very much reflects what I’ve continued to do in my work and that is to explore the issues of oppression, social justice, sexuality and violence in our society. So for me, it really speaks to the continuation of what I’ve been doing for the last almost 50 years and I really like the fact that it can now be shown, not just at festivals, but it’s on this piece of physical media.”
You made one narrative short film, Lotus, in 1987 but otherwise you have been focused on making documentaries. What has been the draw for you of the documentary form?
“The draw is that they’re based on real-life stories and as a filmmaker I’m able to craft that real-life story into a documentary using elements of art, sound, picture, and rhythm to really heighten it. It’s always about story first and it’s always the story that excites me. Before I embark on a project, I have to ask myself what is it about a story that really motivates me to spend maybe five years on developing, fundraising, production, post-production and then distribution. It has to grab me in terms of an emotional journey, but then it’s the creative process of deciphering how I bring that story to life on screen that I’m concerned with.”
One film in this collection that I had never had chance to see before is Out Rage ’69. How did you come to make that film?
“Out Rage ’69 was the first in the four-part The Question of Equality series. It was produced by Testing the Limits, a very important production company in the ’80s and ’90s that focused on bringing the fight against AIDS to the forefront so that a wider audience could understand what was going on. They were given a grant from ITVS to make what would be PBS’ first series on LGBT rights. They invited me to produce episode one, which was to be based on the Stonewall Rebellion in 1969.”
“There had already been books and other documentaries about Stonewall which told the story from particular points of view. As I started researching, what grabbed me was the story of the internal conflicts. At the time when we were making the documentary in 1994, the coalition between lesbians and gay men was still not happening and they were butting heads. Lesbians had their issues and gay men had their issues and sometimes they’d overlap, but oftentimes they didn’t and that caused conflict even in the ’90s. With Out Rage ’69, I was able to focus on that as the story for the series. Not that the overall fight for our rights wasn’t the most important story, but I found that the struggle between classes and races and genders to be an equally important story to tell because it had never been explored via Stonewall before.”
“In the ’90s, the issues between lesbians and gay men was so prevalent that I wondered, ‘Was that always the case?’ That’s what drew me to explore that aspect and then the divisions of class and race came up strongly as well so that’s what I focused on. And I’ll tell you, I got some flack for it, but that’s okay! That’s good. Basically, the white men who were part of that era really didn’t like what I did and they were very vocal about it. I said, ‘Well, that may not be your truth, but it is the truth of those people who I talked to and we need to acknowledge that.'”
“To this day, I still get questions about the film and requests for the archival material that I shot, particularly interviews with participants like Sylvia Rivera. The series wasn’t available after its initial distribution on VHS, so it’s terrific that it is part of this Kino Lorber collection. When we were putting it together, I spoke to the producer of the collection, Rob Sweeney, and said, ‘This is an important part of my work and important in terms of the documentaries that have been made about Stonewall, so let’s try to get it included.’ Fortunately, we were able to locate the original producer of the series and she gave us permission. So it’s great that at least one out of the four episodes is now available for the general public to watch. I’m excited about that and grateful that Testing the Limits gave us the okay.”
You mentioned that one of the interviewees in Out Rage ’69 is Sylvia Rivera. It was great to see that footage of her in the film, along with excerpts of the famous speech that she gave in Washington Square in 1973, as well as her reflecting back on that speech.
“It was a great interview with Sylvia and she looked great. In her later years she had a lot of difficulty surviving. I haven’t seen every interview with her, but I think that was one of the last interviews that she gave where she wasn’t living in difficult times. She was settled in Westchester at the time. That was the year of the 25th anniversary of the Stonewall Rebellion and she was in great spirits and I marched with her as she led the parade. I remember very clearly conducting that interview with her that day. We had a great time and I’m happy to say that was my memory of Sylvia Rivera.”
I’ve seen a lot of films about Stonewall and the gay rights movement and it’s quite rare that we see Asian Americans included as we do in Out Rage ’69 with Kiyoshi Kuromiya’s contributions and the footage of a sign at a march that reads, “Asian American, gay and proud“.
“1969 was a long time ago, I was only 14, but I remember that era and the hippie cultural revolution in San Francisco that I was a part of. In making Out Rage ’69, being Asian American and gay myself, I wanted to seek out who else was there. There’s often this idea that the gay rights movement was always white and male, but I said, ‘No, I was there too!’ So it was wonderful when we discovered that Kiyoshi Kuromiya was a part of the Gay Liberation Front and we also have African Americans like Ron Ballard and Candace Boyce in documentary and give them a voice. Karla Jay, a significant member of the Lavender Menace, was an important part of the film as well, along with Joan Nestle. Sure, we had the white guys too, but we’ve heard from them before. But to put all of them together in context, in terms of their interrelationships, was important for me to see where we were as a community then and how that reflected on us in terms of where were in the mid-90s. It’s different today. Good different.”
With Anita Bryant having recently passed away, it is interesting to see how she is contextualized in Out Rage ’69. Along with the negative aspects of her anti-gay rhetoric and her campaigning, in the film we hear one of the contributors point out that she was “a shot in the arm” to help reunite the community and the movement.
“I’ve seen some of the coverage of her death and what’s often used is the image of her with pie in her face. It’s funny, but that’s not the whole story. She wasn’t a joke and I was happy to be able to include her as part of that larger story. It’s interesting in terms of the religious right, the Moral Majority as it was called back then, and how they have gained strength through the decades to the very real threat that they are today. That’s the work I wanted to continue to do in Family Fundamentals. To say, ‘Wait a minute, they’re not just some small group that we can brush aside. It’s not enough to say ‘we’re gay and proud.’ We really have to deal with this Moral Majority, Conservative Christian right and their movement, because if we don’t they’re going grow stronger.'”
“As we see in Out Rage ’69, it somewhat started with Anita Bryant, though I’m not going to give her all the credit. When I produced Family Fundamentals in 2002 there were still people in the community who would rather not have watched it, but I said, ‘No, the threat is real. These folks are really strong and they need to be dealt with whether we want to or not.’ We can win in the voting booth. We can win bills and get legislation passed, but if we don’t get to their hearts and minds and their spiritual beliefs we’re not completing the battle and we’re not going to win the war. We see that today. We have not won the war and we’re losing far too many battles when you would think with our strength in numbers we should have gone further than that by now, but we haven’t and it’s scary.”
I find it fascinating to talk to you in more depth about your work and one of the great things about this Blu-ray collection is that alongside the films there are the bonus features which continue the conversation and offer viewers more insight. What was your approach to assembling that part of this set?
“Actually it was really satisfying because with each documentary there was so much more material that I couldn’t fit into a single piece of work. With each of my films I revel in the research and I think that’s partly why I love making documentaries. It gives me a chance to dive deeply into a subject that I’m curious about. But then what do you do with all of the extra material? I’m lucky that for two of my films, Hollywood Chinese and Forbidden City, USA, I was able to write books and put a lot of that research into those, both visually and in terms of the stories that were told to me that weren’t included in the final film productions.”
“My other films have extra material too. So when I was working with Kino Lorber, Rob told me that we could include up to four hours of bonus features. That was a challenge because I have much more than four hours, but it gave me a chance to look at the available work for each title and to put in things that weren’t in the films. One of my favourite additions is an interview with Pat Bond. She’s a lesbian World War II veteran who we interviewed just prior to her passing from cancer. The interview didn’t quite work because her energy was low as she was undergoing treatment, so we didn’t end up using her story in the final film, Coming Out Under Fire. We knew that she had a prominent voice in Word Is Out and that her story was already out there, so we didn’t have to feel so guilty about not including her. But her story was heart-wrenching and so to be able to include it as one of the bonus features was terrific.”
“On the opposite end, I was a visiting artist at the Walker Art Center in Minneapolis in the late 1990s and I proposed going to the St. Cloud Correctional Facility to interview Jay Johnson, one of the killers I featured in Licensed to Kill. He had killed gay men because he wanted to cleanse himself of being gay and cleanse the world of AIDS. I was given special permission by the prison warden to show the film to him in prison, which was very unusual. Then I interviewed him afterwards and put that together as part of my work as a visiting artist. It was part of my DVD of Licensed to Kill, but otherwise it hasn’t been shown since. I thought it was important to hear what Johnson thought about seeing himself, as well as the other killers in the film, how their stories were portrayed and how he felt about his crimes in hindsight and how he survived in prison all these years. So that’s in the collection as well.”
Something disturbing that he says, which speaks to the larger societal issues that you were addressing with the film, is that in his experience killing a gay man was seen as “a neat crime” that was “acceptable” and “cool” by his fellow prisoners. It’s pretty chilling to hear him say that.
“There were many times during my interview with him where he surprised me by his own personal experiences. He says that people stayed away from him in prison because he had been diagnosed with AIDS, but that there was also a reverence for him because he had killed gay men. So it’s an interesting interview and I appreciated his honesty and his openness. Prior to my interview with him for the documentary, and up to the time that I interviewed him for this visiting artist assignment, he had stayed away from the media and refused to give interviews. I think this is where documentary filmmakers are important, in that his reasoning for agreeing to take part was because it wasn’t just a 30-second sound bite from a local news station. He knew that we were trying to explore the issue on different levels and to give it time rather than cut it off at 30 seconds. So he felt confident and secure with what we were trying to do.”
You also include an extended interview with BD Wong who talks about finding joy in his identity as a gay Asian American man after becoming a father. Why was he someone who you wanted to feature in Hollywood Chinese and why did you want to add this fuller interview to the Blu-ray?
“When I was putting together the possible interviewees for Hollywood Chinese it was like a casting process and I knew that I wanted a gay man to be part of that narrative. At that time, the only out and gay Asian man in the industry who was somewhat known was BD Wong. Even at that time he wasn’t out the way we know it now, that was a different time period, but he did speak at a GLAAD Awards dinner and wrote a book about having a child with another man, so it wasn’t a secret. He agreed to be part of the documentary and in our interview we talked a lot about the history of the Chinese in Hollywood and the depictions and the erasure of our stories and the images on screen, but I knew that I would eventually get to his personal story.”
“As with all the interviewees, I wanted a personal point of view as well as an insight into his journey in the film industry. BD was so open and so generous in sharing his story, even beyond what I needed for the documentary. We included part of it in the final film, but not as much as we had on tape. When I revisited his interview I said, ‘Here’s part of the story that really meant a lot to me personally as a gay Asian man in the industry.’ His clearheadedness about his experiences and his trajectory was so evident in the interview that I wanted it to be part of the bonus features.”
An essay about your career by Alonso Duralde is included in the booklet with the Blu-rays. He quotes you as saying “film is a weapon” from an interview you did in 1999. In fact, the essay itself is called Film is a Weapon. Is that still the way that you view your work?
“Yes, very much so. Although I think it’s been tempered a bit in terms of what we see as weapons. It’s certainly not an armed piece of material—a gun or a blade—but it’s more of a tool to help you work towards your goal. For me, that’s a more equitable society. That’s always been the goal—ever since I made my first film Public when I was 16—to look at this world that we live in and ask what is it that we need to work on so that we all have an equal opportunity, we’re on an equal footing, and free from oppression and discrimination? So, yes, film is a weapon, film is a tool.”
“I remember reflecting on that idea when Matthew Shepard was murdered in 1998. It was a year after I had finished Licensed to Kill and I distinctly remember feeling deflated and that all this work that I thought I was doing didn’t amount to much because he still got murdered. I said, ‘Well, I guess this weapon wasn’t very useful and it didn’t work.’ But I got away from that feeling right away and rethought my ideas about how effective creative work can be in terms of social change. I also realized that the changes aren’t going to come overnight. It takes time and I’ve learned that my work still has a place in conversations about how we see each other, how we relate or don’t relate in this world, and I’m very grateful for that. Even with Licensed to Kill, it’s still a film that’s being shown and used in that way. So change takes time and a weapon is a tool that needs to be refined and practiced with so that it can be more effective.”
“Alonso took great care in trying to encapsulate 45 years of my work into a few pages. He recently wrote the TCM book, Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film, so he was the perfect person that Kino Lorber assigned to write the essay about me. He knew my work because we met way back when he was the director of the USA Film Festival in Dallas, Texas.”
“The other great thing about physical media is that you get things with it, right? I come from the old LP days where you had liner notes and I would love reading those, especially when the LP was a fold-out so you got extra stuff in it. I come from that generation where it’s not only about the content of the LP or the disc, but it’s also about the context in which the creative work was done. I love to read what other people have to say about it and to see the pictures.”
“When it came to selecting an image for the cover of the Blu-ray, Rob and I decided on the photograph of a pair of dancers. It’s a beautiful image that hasn’t been used very much. We used it as the signature image for the Criterion Channel retrospective, but that was pretty much it. Then there are the images for each of my films in the filmography included in the Blu-ray booklet. I went through my archive and found an image of me with a Super 8 camera taken in 1976. It’s a rather cliché image of a filmmaker in some ways, but it is done in an artistic way and it is reflective of how I began my work in the ’70s and the way I still feel about film today. As the collection includes the Super 8 film Public it makes sense to have it as the cover image for the booklet.”
As you mentioned, you’ve published several books, but what about another film? Is that something you’re currently planning or working on?
“I’m waiting for the motivation to jump into another film, but in the meantime I’ve been working on my third book. I love writing because it ends up being something tangible that you can hold and look through. I like the process too. As a filmmaker I’ve always been kind of a loner, which is why I write, edit, and produce my own films. Certainly, the collaboration with the team of other creative people is a wonderful process—and I thoroughly enjoy that and look forward to that with each film—but my most favourite part of making a film is in the edit room when it’s just me and the material in a dark room and a screen, whether that be a Moviola screen or a computer screen. With writing, it’s all about that process for the most part.”
“As a filmmaker I’ve always been image-driven. I mentioned that story was primary for me, but very close to that requirement for me to jump into a film is the imagery. As a book writer, I’ve been focused on image-driven coffee table books and the writing part is just like editing. I’m editing with words and picture. Typically, most writers do the text and then hand that over to the publisher and they hire a designer and you hand them all the images to put together with the text. I learned how to use the publishing software InDesign and I’m writing with pictures and words simultaneously. I might write the text for one section and then go off to look through my archive of images for something to support that story and vice versa, then edit the two together so that they flow.”
“That’s the process that I’m going through right now and I love it. I’m laying out the text along with the images, but I will have a book designer to make it look more beautiful. It’s a creative process that I didn’t think I would experience. In terms of making another film, when I was putting together material for the Blu-ray collection I had to do some editing and I said to myself, ‘Oh yeah, I miss this! I miss editing and putting together images and clips to create a story.’ I know the inspiration will come and I’ll recognize it when it does.”
What’s the focus of the current book that you’re putting together?
“It’s called Grandview Film. Grandview was a company started by a Chinese American filmmaker, Joseph Sunn Jue, in 1931 in San Francisco’s Chinatown who ended up making hundreds of films, both in Hong Kong and in Chinatown, in the 1930s, ’40s and ’50s. It’s a not a very well-known story. Some film historians in Hong Kong have written about him and I wrote a chapter about him in my Hollywood Chinese book. Since then, I’ve done more research and collected more material. I now have thousands of images based on his work and it’s a wonderful story. I’m excited about it, partly because in the ’70s and ’80s when I first began making films and went to film school, he was still alive but I didn’t know about him.”
“I think knowing that someone who started in the neighborhood that I grew up in, San Francisco’s Chinatown—where he was making feature films in the ’40s about Chinese Americans in colour, in 16 millimeter—would have been very inspiring to me. It’s astounding when I think about what I missed knowing about. Not that I wasn’t inspired by other filmmakers, but to have known that he lived and did his work three blocks away from where I grew up would have really pushed me even further into pursuing my career in film.”
Which filmmakers have you been inspired by?
“I got to know Arthur J. Bressan Jr.—whose films historian, curator, and filmmaker Jenni Olson has been involved in restoring and distributing—when I dated his boyfriend, Aaron, back in the ’70s. Aaron and I were both working as clerks at Takahashi, a high-end gift store in San Francisco that no longer exists. He was dating Arthur and then Aaron and I started dating. I mean, it was the 70s, right? That’s what people did! One night, Arthur organized a show-and-tell evening of films. I showed Public and Arthur showed some of his Super 8 films. Arthur was really excited about Public and encouraged me study film. We lost contact after I stopped seeing Aaron, but I was always aware of his filmmaking and as an independent filmmaker working in San Francisco, outside the industry, I was very much inspired by what he did with his career. He was a key inspiration for me in the very beginning.”
“From there, my inspiration was Stanley Kubrick. I still study his work now. I don’t make films like him, but just the fact that he was an artist and was kind of quirky appeals to me. He had boundaries on his privacy and he had a creative process that some people may not have agreed with, but they looked aside and said that it didn’t matter because they loved his work and they wanted to work with him. Kubrick was an inspiration from the very beginning and still is.”
Last time we spoke, I asked you for your favourite piece of LGBTQ+ culture and you talked about your admiration for the Peking opera star Mei Lanfang. This time I’ll reframe the question and ask for your favourite LGBTQ+ film. Either a film that’s stayed with you and resonated with you over the years or something that you’ve seen more recently that’s made an impact.
“I can give you bookends. When Word is Out opened in the ’70s, I saw it in a theatre when I was still in high school. It was the first time that I had ever seen a Chinese American man, Dennis, speak about being gay in a very nonchalant, casual way. I remember seeing Dennis’ story in the midst of all the other stories and it was wonderful to see this collection of voices. It was the beginning of me working in film and that had an impact on me as a film featuring real-life LGBT people. It worked for me personally on so many levels.”
“Seeing these personal stories told through on-camera interviews in Word Is Out made me appreciate that the on-camera interview is an art in itself. Throughout my work I’ve tried to hone that skill. For some, on-camera interviews are a bore, but for me it’s a unique art form where you take in the facial expressions and the voices. From watching them, I can decipher the skill of the interviewer and where the interviewer is coming from. Oftentimes it works, but many times it doesn’t, and I can tell when an interviewer hasn’t done their homework. I can tell when they’re just doing the job and nothing more. Word Is Out taught me that there’s an art to interviewing a person.”
“At the other end is Emilia Pérez. From the beginning of my love of film I have always loved musicals, whether they’re serious or frivolous and everything in between. I still love watching musicals, so to see a film like Emilia Pérez with its full scope of characters was incredible. As a filmmaker, I was reveling in this revolutionary concept, this audacity, and the fact that the main characters is a transgender woman is really quite lovely. I’m not sure how long that film is going to stick with me, but it’s sticking with me now. So those are my two bookends. Word Is Out and Emilia Pérez. In between those I’ll throw in Maria because I’m an opera lover too.”
By James Kleinmann
The 3-disc Blu-ray Arthur Dong Collection, showcasing ten films by Arthur Dong plus four hours of bonus features, is available now from Kino Lorber.
Included in the collection are Sewing Woman (1982), Forbidden City, USA (1989), Hollywood Chinese (2007), The Killing Fields of Dr. Haing S. Ngor (2015), Coming Out Under Fire (1994), Out Rage ’69 (1995), Licensed to Kill (1997), and Family Fundamentals (2002), along with four hours of bonus features including Public (1970), Living Music for Golden Mountains (1981-2010, director’s cut); Hollywood Chinese: Arthur Dong in conversation with Jacqueline Stewart (courtesy of Academy Museum of Motion Pictures); 45 Years in Film: Arthur Dong in conversation with Oliver Wang (Courtesy of Criterion), additional interviews, outtakes, and trailers. The Blu-ray also includes a booklet essay by film critic Alonso Duralde, and an Arthur Dong filmography gallery.
Watch the full conversation between Arthur Dong and The Queer Review’s James Kleinmann: