I must admit, I approached “Joy Ride” with some skepticism. Over the past few years, we’ve seen an influx of Asian American films across various Hollywood genres, from romantic comedies to superhero blockbusters and introspective dramas. While many of these films have been exceptional, I’ve noticed a recurring theme in some of them: the protagonist’s unrealistic and idealized return to their Asian roots. Given this pattern, I anticipated “Joy Ride” to follow suit.
However, within the first 20 minutes of the film, I found myself wheezing with shock and laughter, realizing that it was offering something different. This became even more evident when Audrey (played by Ashley Park) arrives in China and exclaims that everyone looks like her. It’s a common observation in movies about diaspora homecomings—a sense of empowerment that comes from blending in and not feeling like a conspicuous minority. But Audrey’s best friend, Lolo (Sherry Cola), quickly challenges this notion. She points out the presence of people from Taiwan, mainland China, and even glamorous K-pop stars who are easily distinguishable. Lolo implies that viewing all these Asian faces as interchangeable is a fantasy, not reality.
This message resonates not only with the characters but with the audience as well. “Joy Ride” strives to acknowledge and deconstruct what I refer to as the “motherland trope.” This theme has been particularly noticeable in recent films, where Asian American characters embark on journeys to their ancestral countries. Whether it’s the character flying to Singapore to meet their wealthy boyfriend’s family in “Crazy Rich Asians” (which happens to be co-written by “Joy Ride” director Adele Lim) or the superhero adventure in Marvel’s “Shang-Chi and the Legend of the Ten Rings,” these trips to Asia are often used as a means for self-discovery. While this trope can effectively drive the emotional transformation of the main character, at its worst, it reduces Asian countries to mere backdrops for Asian American protagonists to address their alienation or loneliness in the United States, without fully appreciating the complexity and diversity of these countries.
Let’s take a closer look at one key element of the motherland trope: the homecoming montage. In “Crazy Rich Asians,” the lead couple arrives in Singapore and is immediately immersed in a bustling night market, where friendly locals prepare mouthwatering satays and laksa. Similarly, in “Shang-Chi,” the Asian American protagonists race through Macau, captivated by the vibrant city and its performers. These scenes culminate in the characters’ personal growth: Rachel gains confidence and love, while Shang-Chi becomes a superhero.
At first glance, it might seem like “Joy Ride” follows these familiar plotlines. The story revolves around Audrey, a Chinese adoptee raised by a white family, who travels to China with Lolo and “Deadeye,” her friend’s cousin. Initially, she embarks on the trip for a business deal, but circumstances lead her to search for her birth mother. Eventually, “Joy Ride” presents a tongue-in-cheek version of the homecoming montage, where Audrey appears to fully embrace her quest. The gang rides on the back of a truck with locals, and Audrey spins around in front of a picturesque mountain vista, reminiscent of “The Sound of Music,” declaring her love for China. The sequence culminates in a joyous celebration at Lolo’s grandmother’s home, where the extended Chinese family warmly welcomes the friends.
However, “Joy Ride” cleverly injects an over-the-top sensibility into these idealized sequences, indicating that they shouldn’t be taken at face value. The “I heart China” montage serves as a comedic reflection of Audrey’s naivety rather than a simplistic form of character development. And when Audrey is on the verge of meeting her birth mother, she receives unexpected news about her heritage, fundamentally altering the premise of her identity search. Instead of returning to the U.S. with a convenient epiphany, Audrey faces more complications than she left with.
Other films with similar narrative arcs also resist idealizing the homeland, opting for a more nuanced and complex portrayal. Lulu Wang’s “The Farewell” focuses less on what the protagonist gains from her return to China and more on her journey of navigating grief across borders. European Asian filmmakers like Davy Chou with “Return to Seoul” and Hong Khaou with “Monsoon” explore themes of ambivalence, recklessness, and longing without indulging in wish fulfillment. These films use the homecoming as a plot device but stop short of suggesting that it solves all the characters’ problems.
Likewise, “Joy Ride” subverts the motherland trope by infusing subtle wisdom into its raucous comedy. Audrey’s core need is a sense of belonging and acceptance. Rather than finding it abroad, the film directs her to seek solace in her friends—the same friends who stood up for her and supported her throughout her life. This realization of finding belonging within one’s own community is a common trope in stories of friendship and self-discovery. However, in the context of “Joy Ride,” it serves as a clever dismantling of the motherland trope. Audrey’s redemption comes from her friends, who intimately understand the complexities of the diaspora experience and the struggle to belong. Lolo challenges conventional expectations with her sex-positive artwork in a restaurant run by her immigrant parents, while Kat navigates conflicting expectations of her highly religious Chinese fiancé and her own past. These women don’t need to search for a mythical sense of belonging; they already belong to each other. By reaching this realization, “Joy Ride” showcases the power of transformative relationships that we call home.
In conclusion, “Joy Ride” deviates from the typical portrayal of the motherland trope in Asian American films. It humorously acknowledges and deconstructs the idealized return to Asia, presenting a more nuanced and self-aware narrative. By challenging the notion that a pilgrimage to the homeland can solve all of a character’s problems, “Joy Ride” underscores the importance of finding acceptance and belonging within one’s own community. With its subtle wisdom, the film offers a refreshing take on the complexities of the diaspora experience and the search for identity.
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