A movie about accepting one bias to find happiness

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Ben Giroux and Arnie Pantoja in Shortcomings

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Just because I'm a hypocrite doesn't mean I'm wrong.

Ally Maki at an event for Shortcomings (2023)

Randall Park and Justin H. Min at an event for Shortcomings (2023)

Ally Maki, Randall Park, Justin H. Min, and Sherry Cola at an event for Shortcomings (2023)

Justin H. Min at an event for Shortcomings (2023)

Randall Park at an event for Shortcomings (2023)

Sherry Cola at an event for Shortcomings (2023)

Ally Maki and Sherry Cola at an event for Shortcomings (2023)

Justin H. Min

Sherry Cola

Ally Maki

Adrian Tomine

Follows a trio of young, Bay Area urbanites - Ben Tanaka, Miko Hayashi and Alice Lee -as they navigate a range of interpersonal relationships while traversing the country in search of the ideal connection.

Randall Park

Shortcomings

Nice movie

A very entertaining character study with that &apos;90s indie vibe that really pulls you in. It shines in its observations about Asian-American culture and how the characters interact, especially the friendship dynamic between Ben and Alice: open conversations, shared dinners, and parties that bring out the best in both of them, even when he&apos;s behaving poorly.

Ben Tanaka (Justin H. Min) is an immature, narcissistic, and toxic protagonist, obsessed with white women and frustrated with Asian representation in cinema. What&apos;s curious is that, despite everything, you end up caring for him thanks to Min&apos;s performance, which gives him an uncomfortable charm and small flashes of self-awareness. His girlfriend, Miko (Ally Maki), finds in New York the opportunity to grow far away from him.

Adrian Tomine&apos;s screenplay, based on his graphic novel, is full of witty dialogue and film references; it kicks off with a smart satire of Crazy Rich Asians and from there blends humor, cultural critique, and a very genuine portrayal of interracial relationships, self-deception, and millennial aimlessness. The chapter structure gives it rhythm, though it stalls a bit in the third act.

What I value most is that Randall Park avoids the temptation to redeem his protagonist with a sugarcoated ending. The happiness of those around him doesn&apos;t depend on Ben changing: he only manages to recognize his own flaws and begin dealing with his depression. It&apos;s an adult comedy, without forced hope or easy morals, but fresh, irreverent, and deeply human. A solid directorial debut that confirms Park as an interesting new voice in the indie scene.

Ben, a struggling filmmaker, lives in Berkeley, California, with his girlfriend, Miko, who works for a local Asian American film festival. When he’s not managing an arthouse movie theater as his day job, Ben spends his time obsessing over unavailable blonde women, watching Criterion Collection DVDs, and eating in diners with his best friend Alice, a queer grad student with a serial dating habit. When Miko moves to New York for an internship, Ben is left to his own devices, and begins to explore what he thinks he might want.

Official Trailer 

https://m.media-amazon.com/images/M/MV5BYTg2MTM2N2ItODZlOS00M2Q3LTk4NTQtMzNkNDY0NTZjNjIyXkEyXkFqcGdeQXZ3ZXNsZXk@._V1_.jpg

A very entertaining character study with that '90s indie vibe that really pulls you in. It shines in its observations about Asian-American culture and how the characters interact, especially the friendship dynamic between Ben and Alice: open conversations, shared dinners, and parties that bring out the best in both of them, even when he's behaving poorly.

Ben Tanaka (Justin H. Min) is an immature, narcissistic, and toxic protagonist, obsessed with white women and frustrated with Asian representation in cinema. What's curious is that, despite everything, you end up caring for him thanks to Min's performance, which gives him an uncomfortable charm and small flashes of self-awareness. His girlfriend, Miko (Ally Maki), finds in New York the opportunity to grow far away from him.

Adrian Tomine's screenplay, based on his graphic novel, is full of witty dialogue and film references; it kicks off with a smart satire of Crazy Rich Asians and from there blends humor, cultural critique, and a very genuine portrayal of interracial relationships, self-deception, and millennial aimlessness. The chapter structure gives it rhythm, though it stalls a bit in the third act.

What I value most is that Randall Park avoids the temptation to redeem his protagonist with a sugarcoated ending. The happiness of those around him doesn't depend on Ben changing: he only manages to recognize his own flaws and begin dealing with his depression. It's an adult comedy, without forced hope or easy morals, but fresh, irreverent, and deeply human. A solid directorial debut that confirms Park as an interesting new voice in the indie scene.

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