Blepharoplasty is the type of plastic surgery that creates the “double eyelid” absent in approximately 50% of eastern Asians. The startling popularity of this surgical procedure among Asian women has been noted, criticized, and perhaps over-simplified as a racially charged desire to look Western.

In creating Lids: Through the Asian Lens, a documentary about the history and socio-cultural implications of this phenomenon, independent filmmaker Regina Park realized that the issue demanded deeper consideration. “I originally started with my own biases, which I had to set aside. It’s easy to judge plastic surgery, and harder to examine the different motivations that would lead someone to undergo such a difficult process. Every woman has a different story to tell. One of my goals for Lids was to present all sides of the argument, and to instigate a dialogue about this controversial and divisive issue.”

Plastic surgeons confirm that blepharoplasty is the procedure most commonly requested by Asians and Asian Americans, even by parents for young children. As a child, Park herself felt pressured by her mother to undergo surgery for that coveted double eyelid. Later, she understood that this was not an implication of her physical inferiority. “It wasn’t even a demand to be more ‘beautiful’. She wanted me to grow up being judged on my talent and hard work, rather than by my appearance—to not be held back because I didn’t fit into the mainstream. So there are many racial, social, and cultural repercussions to consider before making a snap judgment on eyelid surgery. There are those who call it an act of racial self-hatred, and there are some who perceive it as a matter of personal aesthetics and self-actualization—but even ‘just’ wanting to look better is more than what it seems on the surface.”

When asked about other lessons or surprises she had encountered along the way, she replied, “I was a little surprised by the growing trend of multiculturalism in aesthetics. I interviewed 21 young Asian American women, ages 18 to 21, who belonged to sororities at NYU and at Stonybrook University. They said, and I’m quoting, ‘Mixed girls are hot.’ They mentioned Kristin Kreuk, and Jessica Alba, and other very popular Hollywood icons of mixed race. There has been a trend of young Asian American women trying to emulate the physical traits of mixed-race girls. They’re dying their hair blonde, and wearing colored contacts, so you can’t tell at first glance if they’re purely Asian or not. I spoke to one expert about this ‘browning of America’, who called it the fetishization of multiculturalism. There’s a movement towards uniformity, of different aesthetic trends melding into one. Unique features aren’t appreciated as much as looking multicultural.”

On the trend of the multicultural aesthetic in terms of eyelid surgery, she said, “There was the question if the movement away from the single eyelid symbolized the desire to look multicultural. Is it a conscious or subliminal decision to step away from looking specifically Asian? My idea for Lids was born because I wanted to examine racial identity, and how it fit into eyelid surgery.”

About the filmmaker
Park’s interest in filmmaking began in high school. “From a cultural perspective,” said Park, “it was challenging because it’s not the typical, traditional career path. Many Asian parents want to see their children with secure careers as doctors, and lawyers, and executives. I struggled with my mother a bit, but when she saw that I had the passion to pursue film-making, and that I didn’t want to give up, she was incredibly supportive and committed.”

Park has worked on both documentaries and narrative films. “They’re two entirely different kinds of art forms. I’m interested in both, but narrative filmmaking is very difficult to pull together. It takes a lot of time and money to pull people and all the different elements together and to put them in the right places. When making a documentary, the draws are having more control over seeing a project through from the beginning to the end.

“I paid my dues to get hands-on experience. I first worked on low-budget independent films, which is one great way to learn. I also have experience in the corporate world.” When asked about rewarding moments in her career, she responded, “I once worked as a production coordinator on the television series The Awful Truth, which was by Michael Moore for the Bravo Channel. I don’t know when I’ve worked harder! I learned a lot about the nuts and bolts of the work, but also important was learning how to conduct myself professionally. There’s an Asian stereotype that certain work ethics are inculcated since childhood, the idea that you should always be the first one there and the last one out; that you should swallow injustices and malcontents and just keep your head down. I had to learn that speaking up isn’t necessarily a bad thing. Especially when it comes to expressing what you need to become a better employee in the long run.

“When I worked in the corporate U.S., it was discouraging to see few women and people of color in the upper echelons of management. And it was also discouraging to see people content to fly under the radar—while there were many who worked hard, there were many who were complacent about passing on the work to underlings. It’s demoralizing—I know because I was one of the underlings, working hundred-hour weeks! I had to learn to draw my boundaries there.”

She found that there were other personal boundaries to draw and maintain. “I once had a boss who would sometimes say culturally insensitive things. I didn’t feel comfortable speaking to her about it, or going to HR. More often than not, though, when supervisors say culturally insensitive things, it’s unintentional. What supervisor would deliberately want to create a negative working environment? I did let a lot pass, but I do think that depending on your personality and the situation, sometimes it’s smart not to say anything out of anger. For me, sometimes I get too discomposed in the heat of the moment to express myself articulately, but the day after, I could say, ‘I felt that what you said was inappropriate; please take that into consideration for the future.’ The key is to speak up, but to adjust how you react. Rather than speaking out of anger, I think that presenting yourself professionally is always the better way to go.”

To aspiring filmmakers
“Young people are well off nowadays,” Park said ruefully. “Technology gives today’s youth an incredible advantage. Anyone can pick up a good camera and editing equipment and be self-sufficient. Young filmmakers have great leisure to experiment and try out different styles.”

She had both words of warning and of encouragement for aspiring filmmakers of color. “You’ll be at the mercy of a panel. And you’ll be standing on odd ground—if you make a film about the Asian American experience, it’s automatically considered a niche film for a niche audience. Some buyers and some audiences could see that as a drawback, one that would limit the life of your film. On the other hand, there are more opportunities now than ever before—there are funds and grants and workshops targeted especially for filmmakers of color, and more institutes to nurture minority voices. If you want to do a more general film, one not specifically representative of an Asian American or a minority perspective, then you’re in the bigger pool of competition. But ultimately, as a filmmaker, you need to do what you’re drawn to do. Express that. Tell the story you need to tell, and then find your audience.”

We asked about her future plans for stories. “I’m open and looking for new stories that are not just about shock value or easy emotional angles,” she answered promptly. “I want to inspire examination of why certain things happen, to incorporate the scholarly with the personal. For Lids, I interviewed psychologists, historians, sociologists, physicians, scholars, and tried to balance the academic view with the personal ones to really delve for perspectives. I want to use this same approach and style for my next project.”