The documentary Seeds that fall far from their rootsdirected by Thomas Lipgotpremiered this week with stories of Chinese migrants in Argentina through prominent personalities such as Gustavo Ng, Federico Chang and Teresa Yuan, exploring the interaction and conflict between two cultures. The film focuses on the experience of migration, the search for identity and the effort to maintain a balance between cultural roots and adaptation to a new environment. Teresa Yuan, noted as a pioneer in the introduction of psychoanalysis in China, is one of the key figures in this intercultural exploration. The documentary also highlights individuals such as Yinyin Liuwho merges agricultural practices from both countries, and Federico Changa young man with aspirations of being a professional footballer.
With intimate and reflective stories, Seeds that fall far from their roots It aims to bring the public closer to the daily experience of Chinese migrants in Argentina, highlighting the challenges of identity and the sense of belonging. The synopsis of the film details that through stories such as that of Gustavo Ng, Yinyin Liu and Teresa Yuan, the uniqueness and multiplicity of experiences within the Argentine community are revealed, as well as their contributions to intercultural dialogue.
Thomas Lipgotborn in Neuquén in 1978, directed and produced a dozen feature films, including Strengths and Moacir III, which have been presented at various international festivals, receiving multiple recognitions. He is founder of the production company Sleepover and member of the Argentine Chamber of the Cinematographic Industry (CAIC) and the Association of Argentine Film Directors (DAC). Here he tells the story of the creation, filming and impact of his new film.
—What was the origin of this project?
—During my first visit to China, I was fascinated by the experience and opportunities that arose on this trip. I attended a festival to present a documentary and, with the desire to strengthen my production company’s relationship with this country and immerse myself in Chinese culture, I organized a meeting at the consulate, located near the area where the community of Chinese supermarkets is concentrated. . However, a mistake when opening a door led me to meet a Chinese family who explained their immigration process to me. This coincidence sparked my interest in exploring this topic further. Through research, I met several characters, including Laura, a psychiatrist who provides support to newcomers who do not speak the language. I decided to focus the documentary around her story and that of her group of friends, excluding conventional topics such as supermarkets or Chinatown, which had already been widely covered in Argentine cinema. I wanted to offer a different perspective and challenge prejudices by highlighting the diversity and complexity of the Chinese community in Argentinashowing that not all members are linked to the commercial field.
—How were the characters developed in the film?
—Initially, the film was going to focus on a main character with some secondary characters. However, as I got to know them and filming began, I found it more interesting that the story was choral, becoming a symphony of voices that explored the theme of identity. This approach made it possible to balance the various characters’ stories, although there is always the risk that someone could go out of tune in that symphony and affect the narrative cohesion. Fortunately, all the characters turned out to be very rich in internal content, which allowed me to maintain a balance in the film’s speech.
—What revelations emerged during your investigation?
—I discovered that many of the characters experience a deep sense of emptiness and desolation. They live in a state of “not belonging,” a kind of limbo that is never fully defined. It’s fascinating how this feeling manifests itself in their lives. For example, Eva, who came to Argentina as an adult, struggles to adapt and feels that she will never be able to fully convey her feelings due to language barriers. This led me to reflect on the fundamental role of language in the formation of identity. Personally, I have experienced a similar feeling when I travel and have to communicate in English, a feeling of linguistic exile that generates a feeling of rootlessness. This dynamic between Chinese and Spanish, and how the conflict manifests in the language, was a shocking revelation and new information for me.
—How did you manage to establish a bond of trust with the protagonists?
—I didn’t have to make much effort, although I don’t want to underestimate the importance of the process. I guess the protagonists saw something in me and my intentions that inspired them with confidence. They knew of my previous work on documentaries, which helped, but it wasn’t difficult to gain their trust, unlike other projects where it took me a long time to establish strong relationships, such as in the case of working with the Roma community. In this case, I spoke with each of them, explained my objectives transparently and was honest about the uncertainty I had regarding the project and the need for trust and commitment from everyone.
—What is the Chinese perception of Argentina?
—They generally have little information due to the secretive nature of their culture. An interesting example is the case of Gustavo’s father, one of the characters in the documentary. He arrived in Argentina in 1954 during Perón’s second government, when the arrival of foreign workers and capital was encouraged. His intention was to go to America, with the idea of reaching the United States, but he ended up in Argentina, specifically in San Nicolás. This change meant leaving his hometown behind and adapting to a new life, which was a significant and challenging process.
—Did you use a script in your work?
—No, but that doesn’t mean it was a less than meticulous or disorganized process. From the beginning, I had a solid working hypothesis in mind. This hypothesis guided the project from conception to seeking funding, and then underwent debate and changes as it progressed. Initially, the script focused on the story of Qian Ma, the psychiatrist who received the migrants, who was considered the protagonist. However, the script was simply a starting point for me. The documentary is a medium that it thrives on reality and flexibility to adapt to what it offers.
—How long did the filming process last?
—Filming spanned a period of approximately two years. Although it was a long period, it did not involve a large number of filming days, perhaps around ten, but distributed over time. This temporal distribution was beneficial, since it allowed a process of reflection and elaboration. If I had filmed everything in a week or ten days, I would have missed the opportunity to notice many important details.
—What was the reaction when you saw the documentary?
—The reaction was amazing. Everyone was surprised, as they had no clear idea of what to expect. My initial proposal was not very defined, not because I wanted to keep it secret, but because the project developed organically over time. Despite this, they always trusted me. However, they had their doubts about how the film would turn out, given how much they had contributed. In the end, they were very shocked.
—How did you address the political issue in China in the documentary?
—I knew that including a scene that questioned information control in China could limit the film’s distribution in that country, but I decided to keep it. Although I hope it can eventually be seen in China, I am aware of how strict information control is there. It is unfortunate because in Argentina there is great sympathy for Chinese culture, and here coexistence between Taiwanese and Chinese is not a problem, unlike what happens in China, where this issue is delicate and generates latent conflicts. Despite understanding that maintaining that scene could have a cost, I considered it important to leave it because it reflects Argentine values, such as the defense of freedom of expression.
* Seeds that fall far from their roots It is screened at the Gaumont Cinema (Av. Rivadavia 1635, CABA) and at the INCAA Space: Municipal Select Cinema (La Plata)
