She also felt that the diverse group of people working on the film helped tell the story in a more authentic way because most of them had experiences with immigration, in either their own lives or the lives of their parents and families, she said.
Kadakia said she loved the sense of community within the story. Within weeks of meeting, Kadakia joined the project as the producer, and the film entered preproduction. Around the same time, she met fellow UCLA alumna Megha Kadakia. When Khan finished the script in 2013, she began the process of seeking investors and was able to find funding for the project after nearly nine months of meetings.
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“The creative license came in figuring out what was really genuine and really funny or really heartfelt about things that were actually real and just maximizing them.” “When I talk to (immigrants), they look back with nostalgia about the funny, crazy, weird things they did to make it in this country and the really creative things they did to achieve their goals,” Khan said. He then turned in the stool sample as his own for testing and was able to get a visa within two weeks.Īs a form of research for the film, she began interviewing other immigrants who came to the United States in the 1970s, using the details from their stories to capture a diverse and authentic narrative about immigration, she said. Khan was first inspired to write the film after recounting a story to her co-workers about how her own father moved in with European roommates in order to steal a stool sample. The film relies on an optimistic take of the immigrant narrative, rather than portraying an immigrant’s journey as an exclusively oppressed one, Khan said.
22, follows the journey of a young Indian man who immigrates to Chicago in the 1970s in search of the American dream. “The Tiger Hunter,” which has been showing in theaters nationwide since Sept. One scene during “The Tiger Hunter” features a dozen men sleeping on the floor of one room.Īlthough the circumstances are extreme, writer and director Lena Khan tried to make the scene more funny than tragic, a tonal shift she said characterizes the film as a whole.
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