The 44th CAAMFest kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only 3.7% of lead roles in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling.
CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.
These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:
Kaitlyn Bui in a scene from ‘Meals that Made Us.’ (CAAMFest)
Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in Sunnyvale run by volunteer tech workers that delivers meals to unhoused communities?
Meals That Made Us, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.
In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own Luke Tsai) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines.
This screening will be followed by a live Q&A with the director and featured guests from the documentary.
Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. (CAAMFest)
“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.”
Can you guess where this quote is from?
If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct.
Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, About Face: Disrupting Ballet.
The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.
W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ (CAAMFest)
Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.
In Khai Thu Nguyen’s documentary The Dao of Thao, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood.
What does potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.
Kanwal Rekhi, right, in his early Silicon Valley days. (CAAMFest)
The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In Breaking the Code, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his actual father.
The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.
But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial world.
You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s Diamond Diplomacy, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.
It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. Beginning in 1964, when Masanori “Mashi” Murakami was recruited to play for the San Francisco Giants, cultural exchange between the two countries became literal: American players began signing with Japanese teams, and Japanese players with American teams.
The 2025 runner-up at the Library of Congress Lavine/Ken Burns Prize for Film, Diamond Diplomacy presents a compelling history of baseball as a vehicle for community that transcends borders and time.
Grace Yoo, part of the Auntie Sewing Squad, with four sewing machines in a Facebook post. (CAAMFest)
When the government fails to protect its people during the deadly COVID-19 pandemic, the Auntie Sewing Squad (ASS) steps up!
Directed by San Francisco State University ethnic studies professor Valerie Soe, The Auntie Sewing Squad Resistance Playbook tells the story of how a Facebook group blossomed into a mutual aid movement made up of BIPOC, queer “aunties.” During the pandemic, performance artist Kristina Wong started a small volunteer group to sew masks for hospitals and MUNI workers; it quickly grew into a network of thousands distributing masks and resources to vulnerable people, from rural farmers to Indigenous communities.
Humorous and uplifting, The Auntie Sewing Squad Resistance Playbook is a testament to the power of solidarity and radical care in times of political strife.
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"slug": "caamfest-2026-guide-bay-area-films-documentaries",
"title": "Six Must-See Bay Area Documentaries at CAAMFest 2026",
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"content": "\u003cp>The 44th \u003ca href=\"https://caamfest.com/2026/\">CAAMFest\u003c/a> kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only \u003ca href=\"https://socialsciences.ucla.edu/wp-content/uploads/2026/03/UCLA-Hollywood-Diversity-Report-2026-Theatrical-Film-3-12-2026.pdf\">3.7% of lead roles\u003c/a> in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling. \u003c/p>\n\u003cp>CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.\u003c/p>\n\u003cp>These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:\u003c/p>\n\u003cfigure id=\"attachment_13989159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg\" alt=\"person in hat holds crab in front of phone camera\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Bui in a scene from ‘Meals that Made Us.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/meals-that-made-us/\">Meals That Made Us\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 8, 5:30 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in Sunnyvale run by volunteer tech workers that delivers meals to unhoused communities?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Meals That Made Us\u003c/em>, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.\u003c/p>\n\u003cp>In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own \u003ca href=\"https://www.kqed.org/author/ltsai\">Luke Tsai\u003c/a>) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines. \u003c/p>\n\u003cp>This screening will be followed by a live Q&A with the director and featured guests from the documentary. \u003c/p>\n\u003cfigure id=\"attachment_13989160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg\" alt=\"ballerina leaps gracefully\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/about-face-disrupting-ballet/\">About Face: Disrupting Ballet\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 11 a.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.” \u003c/p>\n\u003cp>Can you guess where this quote is from?\u003c/p>\n\u003cp>If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct. \u003c/p>\n\u003cp>Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, \u003cem>About Face: Disrupting Ballet\u003c/em>. \u003c/p>\n\u003cp>The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.\u003c/p>\n\u003cfigure id=\"attachment_13989161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg\" alt=\"Black man and Asian woman sit on bench and laugh\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13989161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-1536x810.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-dao-of-thao/\">The Dao of Thao\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 3 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.\u003c/p>\n\u003cp>In Khai Thu Nguyen’s documentary \u003cem>The Dao of Thao\u003c/em>, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood. \u003c/p>\n\u003cp>What \u003cem>does\u003c/em> potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13989162\" class=\"wp-caption aligncenter\" style=\"max-width: 1573px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg\" alt=\"Asian man and South Asian man in room filled with computers\" width=\"1573\" height=\"1126\" class=\"size-full wp-image-13989162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg 1573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-1536x1100.jpg 1536w\" sizes=\"auto, (max-width: 1573px) 100vw, 1573px\">\u003cfigcaption class=\"wp-caption-text\">Kanwal Rekhi, right, in his early Silicon Valley days. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/breaking-the-code/\">Breaking the Code\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 5 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In \u003cem>Breaking the Code\u003c/em>, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his \u003cem>actual\u003c/em> father.\u003c/p>\n\u003cp>The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.\u003c/p>\n\u003cp>But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"vimeo-player\" src=\"https://player.vimeo.com/video/1084748617?h=8a0d1dbe8e\" width=\"640\" height=\"360\" frameborder=\"0\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/diamond-diplomacy/\">Diamond Diplomacy\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 2 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s \u003cem>Diamond Diplomacy\u003c/em>, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.\u003c/p>\n\u003cp>It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. Beginning in 1964, when Masanori “Mashi” Murakami was recruited to play for the San Francisco Giants, cultural exchange between the two countries became literal: American players began signing with Japanese teams, and Japanese players with American teams.\u003c/p>\n\u003cp>The 2025 runner-up at the Library of Congress Lavine/Ken Burns Prize for Film, \u003cem>Diamond Diplomacy\u003c/em> presents a compelling history of baseball as a vehicle for community that transcends borders and time.\u003c/p>\n\u003cfigure id=\"attachment_13989164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg\" alt=\"Asian woman seated at outdoor table smiling behind four sewing machines, comments on right\" width=\"2000\" height=\"1103\" class=\"size-full wp-image-13989164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Grace-Yoo-with-sewing-machiness_2000-672x372.jpg 672w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grace Yoo, part of the Auntie Sewing Squad, with four sewing machines in a Facebook post. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-auntie-sewing-squad-resistance-playbook/\">The Auntie Sewing Squad Resistance Playbook\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 4:15 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>When the government fails to protect its people during the deadly COVID-19 pandemic, the Auntie Sewing Squad (ASS) steps up! \u003c/p>\n\u003cp>Directed by San Francisco State University ethnic studies professor Valerie Soe, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> tells the story of how a Facebook group blossomed into a mutual aid movement made up of BIPOC, queer “aunties.” During the pandemic, performance artist Kristina Wong started a small volunteer group to sew masks for hospitals and MUNI workers; it quickly grew into a network of thousands distributing masks and resources to vulnerable people, from rural farmers to Indigenous communities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Humorous and uplifting, \u003cem>The Auntie Sewing Squad Resistance Playbook\u003c/em> is a testament to the power of solidarity and radical care in times of political strife.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 44th \u003ca href=\"https://caamfest.com/2026/\">CAAMFest\u003c/a> kicks off May 7–10 in San Francisco’s Japantown, just as Asian American and Pacific Islander Heritage Month gets underway. At a time when Asian actors made up only \u003ca href=\"https://socialsciences.ucla.edu/wp-content/uploads/2026/03/UCLA-Hollywood-Diversity-Report-2026-Theatrical-Film-3-12-2026.pdf\">3.7% of lead roles\u003c/a> in the top theatrical films of 2025, this film festival paints a far more holistic portrait of Asian American storytelling. \u003c/p>\n\u003cp>CAAM, the Center for Asian American Media, is a nonprofit organization that funds, distributes and spotlights the works of Asian American filmmakers. This year, in addition to national and international titles, the festival has an especially strong selection of documentaries showcasing Bay Area stories.\u003c/p>\n\u003cp>These films explore our famously multicultural culinary scene, the rise of Silicon Valley Indian tech entrepreneurship, and the San Francisco Giants’ immense popularity in Japan, among other subjects. Here’s your guide to six very Bay Area documentaries:\u003c/p>\n\u003cfigure id=\"attachment_13989159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg\" alt=\"person in hat holds crab in front of phone camera\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-Still-7-Ocean-Beach-_-Kaitlyn-Bui-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Bui in a scene from ‘Meals that Made Us.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/meals-that-made-us/\">Meals That Made Us\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 8, 5:30 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Did you know there’s a Filipino restaurant in Oakland that doubles as a speakeasy mahjong den? What about the Sikh temple in Sunnyvale run by volunteer tech workers that delivers meals to unhoused communities?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Meals That Made Us\u003c/em>, a new digital series directed by Nisha Balaram, explores how the Bay Area’s vibrant culinary landscape came to be. Episodes include ones on local foraging and crabbing, and the birth of modernized traditional cuisines by a new generation of tastemakers. Balaram demonstrates that food is more than simply nourishment for AAPI communities — it’s a form of language that breaks down borders.\u003c/p>\n\u003cp>In the series, Balaram interviews a plethora of restaurant owners, chefs, writers and social media personalities (including KQED Arts & Culture’s own \u003ca href=\"https://www.kqed.org/author/ltsai\">Luke Tsai\u003c/a>) who discuss the history of Asian immigration in the Bay Area and the evolution of their beloved heritage cuisines. \u003c/p>\n\u003cp>This screening will be followed by a live Q&A with the director and featured guests from the documentary. \u003c/p>\n\u003cfigure id=\"attachment_13989160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg\" alt=\"ballerina leaps gracefully\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/AboutFace.Nutcracker-NYCB.Georgina-Pazcoguin_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Georgina Pazcoguin dances in the ‘Nutcracker’ at the New York City Ballet. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/about-face-disrupting-ballet/\">About Face: Disrupting Ballet\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 11 a.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>“It’s true that one of the first acts of tyrants is to erase history, to wipe out the recorded history of a people.” \u003c/p>\n\u003cp>Can you guess where this quote is from?\u003c/p>\n\u003cp>If you somehow managed to guess that it’s one of the countless online hate comments made against Phil Chan, resident choreographer at the Oakland Ballet Company, in response to his mission to modify racist Asian caricatures in ballet, then you are correct. \u003c/p>\n\u003cp>Why does simply wanting to make an art form more inclusive incite accusations of tyranny? How can we address issues of orientalism and exoticization while preserving the artistry of ballet? These are the questions Jennifer Lin explores in her documentary, \u003cem>About Face: Disrupting Ballet\u003c/em>. \u003c/p>\n\u003cp>The film follows Chan and his longtime friend, Georgina Pazcoguin, who was the first female AAPI soloist at the New York City Ballet. The pair demonstrates that advocacy is about neither canceling classics nor erasing history, but about nurturing a more diverse future for the art form.\u003c/p>\n\u003cfigure id=\"attachment_13989161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg\" alt=\"Black man and Asian woman sit on bench and laugh\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13989161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DaoOfThao_2000-1536x810.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Thao Nguyen in a scene from ‘The Dao of Thao.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/the-dao-of-thao/\">The Dao of Thao\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 3 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>Thao Nguyen’s life story is full of idiosyncrasies and surprises. The Bay Area theater performer and former artistic director of San Francisco’s Asian Pacific Islander Cultural Center is the daughter of Vietnamese war refugees. She’s also a queer woman who partnered with a cis white man, with whom she’s now raising their mixed-race son, all while pursuing a PhD at Stanford.\u003c/p>\n\u003cp>In Khai Thu Nguyen’s documentary \u003cem>The Dao of Thao\u003c/em>, produced by W. Kamau Bell, our loveable protagonist prepares for her next comedy show, which explores her intersecting Asian American and queer identities amid new motherhood. \u003c/p>\n\u003cp>What \u003cem>does\u003c/em> potty training have to do with institutional racism? Khai Thu Nguyen shows an artist navigating not only her personal life experiences, but also structural inequality, and doing it all through humorous yet humanistic on-stage storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13989162\" class=\"wp-caption aligncenter\" style=\"max-width: 1573px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg\" alt=\"Asian man and South Asian man in room filled with computers\" width=\"1573\" height=\"1126\" class=\"size-full wp-image-13989162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1.jpg 1573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Copy-of-BTC_Retro_Kanwal-1-1536x1100.jpg 1536w\" sizes=\"auto, (max-width: 1573px) 100vw, 1573px\">\u003cfigcaption class=\"wp-caption-text\">Kanwal Rekhi, right, in his early Silicon Valley days. \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/breaking-the-code/\">Breaking the Code\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 9, 5 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>The phrase “Silicon Valley Indian Mafia” may sound familiar to anyone with proximity to the Bay Area tech scene. In \u003cem>Breaking the Code\u003c/em>, director Ben Rekhi documents the history of the mafia’s undisputed godfather, Kanwal Rekhi — who also happens to be his \u003cem>actual\u003c/em> father.\u003c/p>\n\u003cp>The public knows Kanwal Rekhi as the co-founder of Excelan and IndUS Entrepreneurs (TiE), and, most notably, as the first Indian American founder and CEO to take a venture-backed company public on NASDAQ in 1987.\u003c/p>\n\u003cp>But his private life tells the story of the son of an army general from India. Born with a stutter and ostracized from his family, he immigrates to America in search of a new life, only to face racial discrimination. The film is not just about a tech pioneer’s remarkable rise to success, but also an intimate portrait of family and sacrifice along the road to greatness in the entrepreneurial world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"vimeo-player\" src=\"https://player.vimeo.com/video/1084748617?h=8a0d1dbe8e\" width=\"640\" height=\"360\" frameborder=\"0\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://caamfest.com/2026/movies/diamond-diplomacy/\">Diamond Diplomacy\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 10, 2 p.m.\u003cbr>\nAMC Kabuki\u003c/i>\u003c/p>\n\u003cp>You don’t have to be a baseball fan to enjoy Yuriko Gamo Romer’s \u003cem>Diamond Diplomacy\u003c/em>, a film chronicling the fascinating, century-long role the sport has played in strengthening diplomatic ties between America and Japan, even amid war. And in the center of that diplomacy is San Francisco.\u003c/p>\n\u003cp>It’s said that San Francisco Seals player Lefty O’Doul’s popularity in Japan may have briefly forestalled the heights of World War II. 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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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