“Joy Ride,” a road trip comedy that is as unapologetically bawdy as it comes, introduces us to a quartet of Asian-American friends embarking on a journey across Asia to find one of their biological mothers. This audacious film is the directorial debut of Adele Lim, best known for co-writing the film adaptation of “Crazy Rich Asians.“
Lim, along with writers Cherry Chevapravatdumrong and Teresa Hsiao, created the project with a clear vision in mind. They elected to complete the entire script before involving Seth Rogen and Evan Goldberg, who eventually produced the film under their company, Point Grey Pictures. During this period, Lim was working on Disney’s “Raya and the Last Dragon,” while her collaborators were juggling various TV series commitments.
Their weekly brainstorming sessions led to an array of hilarious personal anecdotes finding their way into the script. “Joy Ride” opens with a montage showcasing the lifelong bond between Audrey (Ashley Park) and Lolo (Sherry Cola), who grew up as the only Asians in a stereotypical American suburb. As adults, Audrey, a high-powered lawyer, and Lolo, a slacker sculptor, embark on a trip to China that quickly spirals into a chaotic adventure when they are mistaken for drug dealers.
The casting for “Joy Ride” was an inspired process. Lim drew from the personalities and backgrounds of the actors to shape their on-screen characters. The characters’ eclectic interests, from musical theatre to metal music, mirror those of the actors portraying them. Notably, Lim accommodated Sabrina Wu’s non-binary identity by altering the character of Deadeye.
Despite the film’s hilariously scandalous content, from shocking sex acts to drug-fuelled escapades, “Joy Ride” grapples with serious themes of racism among both Asians and Caucasians. It also explores the complex feeling of ‘otherness’ experienced by minority and under-represented groups, echoing Lim’s personal experiences as a Malaysia-born, American immigrant.
“Joy Ride,” initially planned to be shot in China, was eventually filmed in Vancouver, Canada due to Covid-19 restrictions. Despite the geographical switch, the production team focused on maintaining the authentic spirit of the intended locations.
The creation of “Joy Ride” was a balancing act for Lim, particularly with her background in dramatic storytelling. She had to deftly navigate between the improvisational nature of comedy and maintaining the narrative structure of the film.
Ultimately, “Joy Ride” serves as a raunchy, riotous testament to Asian-American representation in film. It demolishes stereotypes while delivering a story about belonging and identity. For Lim, it’s a step towards normalising the representation of Asians in global cinema, ensuring future generations don’t grow up feeling like outsiders. Despite its outrageous comedic veneer, “Joy Ride” offers poignant insights into the Asian diasporic experience, making it a groundbreaking contribution to contemporary cinema.
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