By Chris Betros

Arts & Culture Mar. 26, 2008 - 05:31AM JST ( 5 )

TOKYO —

Chinese actress, model, entrepreneur, columnist and nightclub owner Ai Wan is hardly the sort of person you would expect to be backing a serious documentary about Yasukuni Shrine. Yet the dynamic Wan has never been afraid to tackle new challenges. “The film is controversial, sensitive and penetrating, with a distinct disposition and a clear topic. It is not only an unforgettable film, but also a film regarding war and peace that truly cares about, and considers Asia, and even the world,” she says of “Yasukuni,” her first project as international producer.

Directed by Li Ying, who moved to Japan in 1989, “Yasukuni” explores the controversial Shinto shrine, focusing on Naoji Kariya, the last tradesman alive who forged the swords traditionally used by Japanese military officers. The documentary traces what those blades were used for — including the Nanjing Massacre of 1937 and a widely reported beheading “competition” carried out by two officers who were later executed for war crimes. In the documentary, the craftsman is asked if he ever thought about how his swords were being used, but he remains silent, almost as if to ask: does any weapons maker consider what it will be used for?

“Yasukuni” had its world premiere to rave reviews at last year’s Busan Film Festival, it was screened at the Sundance Film Festival in January and the Berlin festival in February. The documentary, which has no narration, will debut in Japan in April. Wan, who is one of several producers, says she first met director Ying in Beijing in 2005. He had returned from Japan to raise funds for the documentary. “I agreed to help him and we spent another eight months raising the funds for the post production. In the process we also crafted a new script together. He then spent four months completing the film which had now taken 10 years in total.”

Wan has been to Yasukuni Shrine and says she found it “both shocking and intriguing, solemn and quiet, showing no trace of distortion from the war. However, on the other hand it remains ghastly.” The filmmakers often had a hard time, being chased by rightists and getting no cooperation from NHK. “Maybe they didn’t know how to deal with a documentary that challenges the emperor of Japan to face the cold hard facts of the history between our nations,” Wan says of the public broadcaster. 

Born in Shanghai, Wan was raised in the U.S. She has appeared in many Chinese films and numerous U.S. films and TV shows, including “Rush Hour,” “Fallen Angel,” “On Deadly Ground” and “Death Becomes Her,” as well as “ER” and “The Fresh Prince of Bel Air.”

Currently living in Beijing, Wan says she is at ease working on either side of the Pacific. “I like the youthfulness and sense of freedom of the U.S. China is still developing, but has challenges and vitality at the same time alongside many development opportunities.”

In between acting gigs, Wan did a host of modeling for calendars and billboards allover the world, appearing in ads for Vidal Sassoon, Nokia, Budweiser, McDonald’s, Chanel, H&R Block and Legg’s Hosiery. A savvy businesswoman, Wan keeps busy, running her own film company, Epic Entertainment, a design studio called Epic Design and a hedonistic nightclub she created, China Doll, which has become increasingly popular with Beijing expats and the local A-list crowd. The club won eight awards last year, among them outstanding club of the year, best design, best after hour place, best place for people watching and best place to find a date.

As if Wan didn’t have enough accolades, in 2006, she was personified as “the new rising creative class in Beijing” by China’s Outlook Magazine. However, she doesn’t see herself as a role model for young Chinese women. “Quite the contrary, I think I still have a lot to learn,” she counters.