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Japanese Canadian stories explored in B.C. film BԪַSeagrassBԪַ

Meredith Hama-BrownBԪַs award-winning feature explores topics rarely seen on screen
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Young Victoria actor Remy Marthaller had her first major film role in Seagrass. (Seagrass movie still)

As Meredith Hama-BrownBԪַs debut feature film BԪַSeagrassBԪַ made waves during its festival run last fall, the Vancouver writer-director says she heard from many Japanese Canadians who thanked her for exploring a side of their experience rarely depicted on screen.

Ally Maki stars as Judith, a Japanese Canadian woman grieving the recent loss of her mother and struggling with her cultural identity as she brings her family to a couplesBԪַ therapy retreat on a British Columbia island. The film tackles mixed-race relationship conflicts, intergenerational trauma, casual racism and young sibling dynamics.

BԪַThere are a lot of details in the film that IBԪַve seen in my own family and that other people have told me that theyBԪַve also experienced, particularly how Judith has lost touch with a lot of her own personal history and her family history,BԪַ Hama-Brown, whose mother is Japanese Canadian, says on a video call from Vancouver.

Like Judith, Hama-Brown says there are gaps in what she knows about the experiences of her grandparents, who were among more than 22,000 Japanese Canadians forced into internment camps by the federal government during the Second World War.

BԪַThatBԪַs something thatBԪַs very common for Japanese Canadians and Americans, because my grandparentsBԪַ generation really didnBԪַt want to talk about what happened. I think it was such a traumatic experience and they just wanted to move past it.BԪַ

BԪַSeagrass,BԪַ which hits theatres across North America on Friday, is a tense and tangled family drama charting the ups and downs of an interracial marriage on the verge of collapse.

Set in the 1990s, the film sees JudithBԪַs marriage to her white Canadian husband Steve, played by Luke Roberts, fall apart as they struggle to connect at group therapy sessions for couples, while their children explore the islandBԪַs verdant landscape. Along the way, they become frenemies with a seemingly more functional couple, played by Chris Pang and Sarah Gadon.

Earlier this month, BԪַSeagrassBԪַ was named best B.C. film at the Vancouver Film Critics Circle Awards, where Hama-Brown also won the best director prize. Last year, it made Toronto International Film FestivalBԪַs CanadaBԪַs Top Ten list and took home the International Film Critics Prize at the fest.

Hama-Brown, who grew up in the BԪַ90s, mines some of her own experiences in the film, similar to the way her award-winning short BԪַBroken BunnyBԪַ dealt with themes of shattered childhood innocence. But she stresses that the plot is very much fictional.

BԪַMy family never went to this retreat altogether, and although my parents are divorced, I never saw them argue. They had a polar opposite divorce. My dad is the polar opposite of Steve.BԪַ

Steve comes off as culturally insensitive and poorly equipped to deal with JudithBԪַs intergenerational trauma. At one point, he makes a racist joke about PangBԪַs character, a Chinese Australian.

Hama-Brown says such microaggressions were a product of the era BԪַSeagrassBԪַ takes place in.

BԪַIn the BԪַ90s, no one really knew how to say, BԪַThatBԪַs racist or that doesnBԪַt feel right.BԪַ Or when people tried, it would be disregarded as a joke. ItBԪַs been really good exploring that type of racism in a film, because I think it can be extremely insidious and itBԪַs something that is still so prevalent.BԪַ

BԪַSeagrassBԪַ is also a coming-of-age story as the coupleBԪַs children Stephanie and Emmy, played by VancouverBԪַs Nyha Huang Breitkreuz and VictoriaBԪַs Remy Marthaller, experience the fallout of their family crumbling.

Hama-Brown says the team found the pair of young actors through a BԪַvery laborious casting processBԪַ in which they BԪַwrote to every single kidsBԪַ acting school in Canada.BԪַ BreitkreuzBԪַs audition tape came in a week and a half before they started shooting. The film marks both actorsBԪַ first major roles in a movie.

BԪַThank goodness everything came together because itBԪַs very challenging casting kids and finding people who can carry these really challenging roles. They have mature themes, but thereBԪַs also a ton of dialogue.BԪַ

Just as challenging to scout out were the filmBԪַs locations. Finding a retreat for a month during the summer of 2022 was nearly impossible as they were all booked up, but Hama-Brown and cinematographer Norm Li discovered one on Gabriola Island called The Haven. Group therapy sessions are actually held there in real life, although Hama-Brown jokes BԪַtheyBԪַre probably much better than the ones portrayed in the film.BԪַ

When Emmy is shown an oceanside cave that other children tell her is haunted, she becomes obsessed with it, convinced the ghost of her recently deceased grandmother is living there.

Hama-Brown says the cave, located at TofinoBԪַs Rosie Bay, was not only hard to find but BԪַexceptionally difficultBԪַ to film in.

BԪַWhen the tide comes in, you will get trapped, so we only had three hours to work in the cave when we were there. Plus, we had a whole bunch of kids who we were bringing there and some gear that we had to walk in. It was something I was just terrified about doing until we got to it.BԪַ

In the end, the scenes were well worth it. Hama-Brown says the tidal, seaweed-draped setting was integral to the film.

BԪַThe sense of place meant a lot to me. ItBԪַs the fact that the family is going to this remote island. I wanted to have the sense of being away and surrounded by water and almost trapped. I wanted there to be this sense of isolation.BԪַ

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