Writer, producer, and director Ann Hu’s debut “Shadow Magic” (2000) won both the Chinese Academy Award and Presidential Award in China for Best Film. The film premiered at the 2000 Sundance Film Festival and was released by Sony Classics in 2001; it performed as one of the top box office hits in China that year. Following “Shadow Magic,” Hu produced and directed “Beauty Remains,” another top box office performer in China. She serves as trustee at IndieCollect, and was a board member at Film at Lincoln Center.

“Confetti” opens in theaters August 20. Find screening info here.

W&H: Describe the film for us in your own words.

AH: “Confetti” is about an illiterate mother who tries everything she can to prevent her daughter from the same fate.

W&H: What drew you to this story?

AH: I am not illiterate but I was told by my daughter Michelle’s teacher, when she was three, that she was dyslexic. In trying to figure out what to do, I ended up walking a long and hard journey to get to where I am today. In the process, my viewpoint changed and I became a different person.

W&H: What do you want people to think about after they watch the film?

AH: Any film is a form of persuasion and this film is of no exception. But I have to say that I do not have that intention in mind from beginning to end. I just wanted to share this story because I know that the world will become a better place if everyone understands what dyslexia means to all of us.

W&H: What was the biggest challenge in making the film?

AH: This was the most difficult film to make in my filmmaking career so far. Other than the normal challenges one would endure in making every film, we had to endure the total chaotic, ruleless situation that the Chinese film industry is going through, plus face COVID uncertainty in launching the film.

While in China, my producer and I once were sitting in a dimly lit shabby local restaurant in Tangshan where we tried to shoot the China part of the film. We were so desperate, as if we could not get out of this place alive. It was that bad. We ended up wrapping prematurely, lost the entire China budget, sent away the crew, and flew back to New York. It was really painful. I had never experienced anything like that. I hated it.

W&H: How did you get your film funded? Share some insights into how you got the film made.

AH: I have stayed in touch with the investors, producers, and distributors from my previous films. They have been very supportive of me throughout the years. I am deeply appreciative.

W&H: What inspired you to become a filmmaker?

AH: I left China and came to the U.S. right after Cultural Revolution in 1979. I got myself a business degree from NYU and made a successful business career. But then I met a very talented Chinese filmmaker, Chen Kaige, in a New York gallery and we became friends. That was before he got his Palme d’Or at Cannes [for “Farewell My Concubine”]. He was an inspiring person and I loved listening to him telling us about his script, his plan for the projects, stories of the set, etc.

I was so intrigued, but I began to realize that I probably have some talent in the same area as well and I really wanted to try that out. Of course, no one would believe me that I could direct films. Yet I was determined. I went back to NYU and took courses in filmmaking, and wrote a three-page script, organized a crew, and did my first short. The rest is history.

W&H: What’s the best and worst advice you’ve received?

AH: When I first got into the field, I would seek advice from everyone, every magazine and book that I came across. I took them all in. Throughout the years, I learned from my own mistakes. I don’t remember any bad advice I received.

I remember two good pieces of advice. One was from my [“Shadow Magic”] producer Eitan Hakami. He told me that “there is a blessing in every delay.” And this advice has always helped me keep my patience and calm and desire in check. Another piece of advice was from Francis Ford Coppola, when we had a chance to engage in an in-depth conversation. When I asked him if he minded offending people — as I did see that he was often in a situation where he had to decline a lot of inquiries — he said, “Of course I do. I don’t want to offend people. But most importantly, you need to be authentic to yourself.”

W&H: What advice do you have for other women directors?

AH: The most important thing about being a woman director, in my opinion, is not to be conscious about being a woman. Many may disagree with me, but this is what worked for me so far. I have never played “the woman card” with any cast, investor, producer, or crew member. I think people respect that.

W&H: Name your favorite woman-directed film and why.

AH: I like Chloé Zhao’s films, “The Rider” and “Nomadland.” Her works are pretty cool, clean-cut, and not sentimental at all. The music is very precise.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

AH: COVID-19 has made us change “Confetti’s” distribution plan three times in China and three times in America. It was truly difficult not knowing what tomorrow could bring us.

We have been trying to launch this film for the third time this summer for the August release, and our marketing teams are working so far to push forward. The social media team reached out to influencers across the country, and the social impact team has done tremendous grassroots efforts within communities, organizations, etc. Our theater team tries to add theaters around the country one after another. We are aiming for a great August to come, away from the COVID threat. The COVID situation is still uncertain at this point but I hope we get through it this time!

W&H: The film industry has a long history of underrepresenting people of color on screen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?

AH: I appreciate the progress our society has made so far. These topics would not be openly discussed if we hadn’t made progress. Progress becomes possible when activists fight decade after decade to bring about changes to people’s minds and hearts. In this sense I admire those who are brave enough to put themselves out there to fight for a better world. They set an example for people like me. As a woman and as a minority immigrant, I have stood, and should always stand tall to those who are bullies, and believe in our power and justice.