Joan Chen on Why She’s Drawn to Queer Family Stories
Veteran actor Joan Chen (Montreal, Ma Belle) says her connection to queer storytelling feels deeply personal.
In a recent interview, Chen explained that years of working as a minority in Hollywood have shaped her perspective, drawing her toward stories about identity, belonging, and family reconciliation.
“I feel attracted to these stories,” she said, noting that her own experiences have created a sense of kinship with queer narratives.
Returning to Queer Family Drama
Chen currently appears in Andrew Ahn’s 2025 reimagining of The Wedding Banquet, originally directed by Ang Lee in 1993.
In the updated version, set in Seattle, Chen plays May, the mother of Angela. Her character initially struggles with her daughter’s sexuality but gradually becomes involved in PFLAG (Parents and Friends of Lesbians and Gays), reflecting a shift from discomfort to public allyship.
The film explores intergenerational tension, cultural expectations, and the complexity of acceptance within queer Asian American families. Rather than leaning on stereotypes of outright rejection, it presents a more nuanced portrait of parents learning - and sometimes stumbling - toward support.
A Long History With Queer Cinema
Chen’s connection to queer storytelling dates back more than two decades. She starred in Alice Wu’s 2004 film Saving Face, now considered a cult classic. In that film, she also played a mother navigating her daughter’s relationship with another woman while confronting her own cultural expectations.
Like The Wedding Banquet, Saving Face blended romance with family drama, centering conversations between parents and children rather than framing queerness in isolation.
Expanding the Story
Andrew Ahn’s version of The Wedding Banquet broadens the original premise. Instead of focusing on a single closeted character staging a heterosexual wedding, the remake follows two queer couples who plan a sham marriage when a family elder visits from South Korea.
The story moves beyond marriage equality to examine cultural tradition, chosen family, and belonging within communities of colour.
Director Ahn has said he wanted to avoid one-dimensional depictions of disapproving parents. Instead, the film explores well-intentioned but complicated allyship — a theme that resonates with Chen’s own reflections.
For Chen, these roles are not just performances. They are opportunities to highlight stories about reconciliation, growth, and the ongoing evolution of family dynamics.
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