Local City College Filmmakers Reimagine SF History
By Finbar LaBelle
Play It Like It’s ’54 masterfully recreates 1950s San Francisco. Using an exquisite color palette and deep-cut locations—some unfamiliar even to locals—the film transforms North Beach and Chinatown into the backdrop for lovers Jean and Vivian. The lead roles were played by City College’s Chloe Wong and Bay Area actor Niku Radan, respectively.
The short film, created by City College student Nova Duarte Martinez, will soon kick off its festival run, beginning with the Zest Film Festival on March 7th.
Martinez, the writer and director of the film, passionately discussed the fifteen-minute project, its mission, and its future.
She stated that her films “tell stories that have been left to be forgotten.” With the help of a film crew consisting of over thirty volunteers, she does just that.
Fueled by community engagement, talent, and a touch of good fortune, this queer reimagining revives provocative concepts for a modern audience and is undoubtedly one that everyone should see.
Jean, an Asian American, ventures into Mona’s 440, a historic San Francisco lesbian bar, for what seems to be her first time. There, she meets the striking Vivian, and as time seems to stop, their love affair begins.
Following the relationship, the movie navigates the reality of queer third spaces – which, in San Francisco, have a history that dates back further than the 1950s. This dramatization breathes life into unwitnessed queer history, excavating racial prejudices and lived experiences of lesbians during the time.
The film’s message of hope culminates in the closing words: “May we all be able to love in the light.”
The Creators
Martinez grew up in a rural farm town in Alaska, where she turned to films for inspiration and company. “Cinema changed me in a sense; I don’t know where I would be without the movies.”
Martinez, whose parents instilled in her a deep appreciation for cinema, was particularly drawn to 1950s film noir, a clear source of inspiration for Play It Like It’s ’54. Taking her expertise and passion for film, Martinez moved to the Bay Area and was astounded by the support it offers emerging filmmakers. Today, Martinez believes the community surrounding her is “the next era of storytellers.”
Four members of the team—Martinez, lead actress Chloe Wong, assistant director Yoko April Tamada, and leading producer Fiona Huynh—met for interviews in late January at Stella’s Bakery in North Beach. Immediately upon gathering, the crew felt memories, both the fond and frustrating, come rushing back.
“This film showed everyone who worked on it how far they can go if they believe in themselves and their vision,” Wong emphasized, reflecting on the production. “This film is not only something we have made collaboratively, but it has shifted something in me.”
A strong consensus emerged around the table, with Tamada, Huynh, and Martinez nodding in agreement. Tamada then shared their own anecdotes from the project, highlighting the team’s resourcefulness.
“We definitely saved a couple of bucks, and every dollar went back into the film!” Tamada said.
Thanks to agreements made with local business owners, the team utilized a Chinatown hostel and a 1930s-style cocktail bar (Stookey’s Club Moderne on the corner of Taylor and Bush) for filming locations. They agreed that the project would have been impossible without both community and collaboration.
Martinez tailored the script specifically for Wong—a first for the actress. Through numerous revisions and Wong’s queer-Chinese identity in mind, the story evolved to blend the complexities of tradition and queerness within part of the Asian-American context.
As the story developed, prioritizing accessibility for the Cantonese-speaking community became paramount to the crew. The film opens with a Cantonese poem, the calligraphy for which several crew members’ parents collectively contributed. Cantonese is also woven throughout the film, with entire scenes spoken in the language and accompanied by English subtitles.
The final product’s stunning cinematography, by City College alumna Hannah Burhorn of Chinatown, and its old-fashioned feel further underscore an observation made by Martinez.
“I always hated that so many old Hollywood histories are whitewashed and straight. And yet, there was so much going on in Hollywood then. There were queer actors, and there were directors putting subtext into their movies, and nonwhite actors as well, trying to make their mark as best they could with many nonsubstantive roles.”
Her film offers a powerful counternarrative.
Wong and Huynh agreed that the film prompted them to reflect on balancing their upbringing in Chinese households with staying true to themselves.
Huynh went on to share, “The thing that drew me into this story is the queer Asian-American woman as the main lead. A gay Asian who is trying to be herself in a world that limits her. I come from a very traditional Chinese household, and if I had done what Jean does in the film, there would have been a lot to say about it.”
Hope filled Stella’s bakery as Huynh spoke. After a pause, she continued, “But seeing it on screen… maybe it will push this idea forward with all sorts of people.”
After that, a quiet hung in the air, a palpable sense of promise in the film’s ability to spark change.
To find the creators and keep updated on future screenings, follow the project on social media:
Instagram: @playitlikeits54film