Popularity: 5 (history)
| Director: | Bing Liu |
|---|---|
| Writer: | Atticus Lish, Martyna Majok |
| Staring: |
| Aishe, a Uyghur woman trained by her military father, migrates to New York City where she finds herself laboring in Chinatown’s underground kitchens. She fatefully encounters Skinner, a young American soldier who has just returned from three tours in the Middle East. While falling in love, they discover the possibility of a better life together than the ones they believed they were destined to live alone. | |
| Release Date: | Sep 05, 2025 |
|---|---|
| Director: | Bing Liu |
| Writer: | Atticus Lish, Martyna Majok |
| Genres: | Drama, Romance |
| Keywords | new york city, based on novel or book, undocumented immigrant, juvenile detention center |
| Production Companies | Plan B Entertainment, PASTEL, Orion Pictures |
| Box Office |
Revenue: $43,421
Budget: $0 |
| Updates |
Updated: Nov 23, 2025 Entered: Nov 23, 2025 |
| Name | Job |
|---|---|
| Yuval Levy | Visual Effects Supervisor |
| Thurman Martin III | Visual Effects Producer |
| Susan Jacobs | Music Supervisor |
| Sophia Lin | Unit Production Manager |
| Emily Tung | Stunts |
| Marc Terrien | Stunts |
| Luke Vexler | Stunts |
| Sean Capitelli | Set Dresser |
| Lance Mitchell | Art Direction |
| Meghann Plummer | Tailor |
| Desaree Oliver-Montenegro | Costume Coordinator |
| Adam Bailey | Special Effects Makeup Artist |
| Aaron Champagne | Loader |
| Dan Green | Boom Operator |
| Gene Park | Supervising Sound Editor, Sound Re-Recording Mixer |
| Kristin Catuogno | Dialogue Editor |
| Matthew Haasch | Foley Supervisor |
| Chris Cazavilan | First Company Grip |
| Justin Kron | Location Manager |
| Jaclyn Martinez | Still Photographer |
| Alanna Levy | Set Decoration Buyer |
| Bing Liu | Director |
| Ante Cheng | Director of Photography |
| Ernie Vigil | Stunt Coordinator |
| Jimmy P. Wong | Stunts |
| Courtney Fitzpatrick | Set Dresser |
| Katy Porter | Set Decoration Buyer |
| Sachi Masuda | Costume Supervisor |
| Veronica Johnson | Set Costumer |
| Charles Zambrano | Key Makeup Artist |
| Jonathan M. Peralta | Second Assistant "B" Camera |
| Dimitri Kouri | Production Sound Mixer |
| Dowen James | Post Production Assistant |
| Dave Paterson | Sound Re-Recording Mixer |
| Igor Nikolic | Foley Editor |
| Luke Provenzano | Assistant Chief Lighting Technician |
| Jon Dowdy | Special Effects Coordinator |
| Angela Coleman | Payroll Accountant |
| Margot Bennett | Visual Effects Coordinator |
| Jennifer Venditti | Casting |
| Anne McCabe | Editor |
| Julia Lallas | Makeup Department Head |
| Robert Lugo | Hair Department Head |
| Brittney Diez | Second Assistant Director |
| Scott Burik | Stunt Coordinator |
| Emile Mosseri | Original Music Composer |
| Atticus Lish | Book, Consulting Producer |
| Martyna Majok | Screenplay |
| Jessica Petruccelli | Set Decoration |
| Howard Kang | Set Dresser |
| Morgan Newell | Unit Production Manager |
| Tracey Ruggiero | Stunt Coordinator |
| Derrick Simmons | Stunts |
| Shane Geraghty | Stunts |
| Ed Duran | Stunts |
| Graham Wichman | Assistant Set Decoration |
| Craig Capitelli | Leadman |
| Anthony Segro | Set Dresser |
| Allen Ploenes | Set Dresser |
| Jackie Goncalves | Set Decorating Coordinator |
| Arlene Lind-Watson | Ager/Dyer |
| Laura Vansickle | Set Costumer |
| Monica Jacobs | Property Master |
| Yuko Sobrin | Property Buyer |
| Vita Viscuso | Key Hair Stylist |
| Ema Rees-Scanlon | First Assistant "A" Camera |
| Ariel Watson | Loader |
| Zorinah Juan-Lieber | Script Supervisor |
| Mariana Benevello | Additional Editor |
| Tayler Haynes | Post Production Coordinator |
| Ric Schnupp | Sound Re-Recording Mixer, Sound Effects Editor |
| Kelly McGehee | Production Design |
| Chris Carroll | First Assistant Director |
| Alan Scott Neal | Casting Associate |
| Keri Langerman | Costume Design |
| Christopher Place | Stunt Coordinator |
| Chris Silcox | Stunts |
| Mariusz Kubicki | Stunts |
| Bryce Burke | Stunts |
| Abraham Chan | Art Department Coordinator |
| Marissa Todd | Assistant Art Director |
| Alexa De Fazio | Truck Costumer |
| Allison O'Shea | Assistant Property Master |
| Joel San Juan | "A" Camera Operator |
| Malika Franklin | Digital Imaging Technician |
| Lindsay Huang | Assistant Editor |
| Eliza Paley | ADR Editor |
| Matthew Kay | Foley Mixer |
| Kenneth Kildee | Dolly Grip |
| Ivy Pham | Casting Assistant |
| Alicia Leatherbury-Lamberti | In Memory Of |
| Matt Rigby | Dialogue Editor |
| Jay Peck | Foley Artist |
| Richard Auth | Second Company Grip |
| Stephen Donovan | Assistant Location Manager |
| Richard Hebrank | Construction Coordinator |
| Tyler Newhouse | Assistant Sound Editor |
| Matthew Atwood | Chief Lighting Technician |
| Hannah Hoban | Second Second Assistant Director |
| Spring Sutter | Production Accountant |
| Teddy Blanks | Title Designer |
| Name | Title |
|---|---|
| Jeremy Kleiner | Producer |
| Bing Liu | Executive Producer |
| Mark Ceryak | Producer |
| Chris Carroll | Co-Producer |
| Dede Gardner | Producer |
| Barry Jenkins | Producer |
| Sophia Lin | Executive Producer |
| Adele Romanski | Producer |
| Brad Pitt | Executive Producer |
| Jeffrey Penman | Co-Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 7 | 2 | 4 | 0 |
| 2024 | 8 | 1 | 3 | 0 |
| 2024 | 9 | 2 | 4 | 1 |
| 2024 | 10 | 1 | 2 | 1 |
| 2024 | 11 | 1 | 2 | 1 |
| 2024 | 12 | 1 | 1 | 1 |
| 2025 | 1 | 2 | 4 | 1 |
| 2025 | 2 | 1 | 1 | 1 |
| 2025 | 3 | 1 | 1 | 1 |
| 2025 | 4 | 1 | 1 | 1 |
| 2025 | 5 | 1 | 1 | 1 |
| 2025 | 6 | 1 | 1 | 1 |
| 2025 | 7 | 0 | 0 | 0 |
| 2025 | 8 | 1 | 2 | 0 |
| 2025 | 9 | 2 | 3 | 1 |
| 2025 | 10 | 2 | 3 | 1 |
| 2025 | 11 | 3 | 6 | 1 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 11 | 677 | 721 |
An essential element of any love story is chemistry between the lead characters, even if it takes an unconventional form. Regrettably, however, that’s exactly what’s missing in director Bing Liu’s debut narrative feature, based on the novel by Atticus Lish. Told in the form of a narrated letter/jour ... nal entry to her late film, the film chronicles the unlikely love story of Aishe (Sebiye Behtiyar), an ambitious, sharp-witted twentysomething Uyghur woman who illegally immigrates to the US, and Skinner (Fred Hechinger), a troubled young American soldier who just returned stateside after three tours of duty in the Middle East and is now apparently unsuccessfully battling PTSD. They meet by chance in New York, where Aishe toils to make ends meet working long hours in a Chinatown restaurant and Skinner tries to sort out his life and his mental state. Together they embark on a rollercoaster romance with a series of breakups and reconciliations as Aishe tries to decide on marriage or a life of solitude, peace of mind and independence, all the while staying ahead of immigration authorities, and Skinner seeks to find a stable existence that may or may not involve the love of his life, depending on his mood, focus and ever-changing inclinations for a steady, traditional relationship. To be honest, the basic premise behind this release is inherently something of a stretch, made worse by a narrative that becomes meandering and redundant after a time. But the bigger issue here is that I never bought the sincerity of the connection between the protagonists, right from the moment they met and at virtually every turn during the course of their on-again/off-again partnership. The reason? Despite her inexperience with romance, Aishe seems far too smart and determined to chart the course of her life to put up with Skinner’s unpredictability and capriciousness. In fact, after their first emotionally tense confrontation, I was astounded by their subsequent reconciliation, given that she seems like the type who would have walked away and not looked back without a second thought. Granted, an immigration-driven marriage might resolve some of the issues of her legal status in the US, but with Skinner? It’s true that she has an apparently deep sense of compassion for his condition, but, being the fiercely headstrong individual that she is, I can’t see that empathy being enough in itself to make her want to stay with him on a long-term basis. What’s more, Aishe’s back story often feels incomplete, and Skinner’s is even more nonexistent, an aspect of the story that makes their actions and responses all the more perplexing at times. In all, this offering is half-baked and implausible across the board, making for a screen romance that’s unengaging and unrealistic, one not worth the time.