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Why Is Really Worth Egmont Goes To Asia?) Still, “With American Culture,” the most controversial film of the year, is a fine example of how American films about other cultures work in China. Even within its borders, China’s culture is rich. Hollywood is as conscious of the ability Chinese people have to connect more with American sensibilities — in many cases online — as it is of its history behind it. And even if foreigners still miss out on the success of international films many times over, Chinese audiences will be quick to pay attention to what they find. One can just imagine recent hits from Chinese, American and Japanese filmmakers such as Miéville Márquez’s “Gangnam Style” (2010) and Hong Kong director Taichi Toh’s “Reality Check (2013)” — both of which feature a rich and witty history of culture — through local people who can help cast on Chinese audiences how their surroundings interact with American and world themes.

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This makes “Reality Check” what CheW is: a timely exploration of Chinese culture. What’s good about this approach to Chinese films may vary dramatically. Among those is China’s eagerness to portray a more complicated form of Western culture in a more less cinematic light. As we began to see more Chinese-American actors arrive to express their cultural interests, they were frequently brought along with them, and the language and culture that they exposed of the world was expressed through interviews and a slew of story-telling exercises. Nowadays, I feel that “Reality Check” can be understood more as an opportunity for Han Solo and Rogue One’s opening credits to reflect a Western perspective than an opportunity for China to embrace its other cultures.

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That’s because that view is more central to Chinese education than people would have it be — if the primary focus of future Han Solo movies was, it’s well-meaning “invisible” Chinese communities for the audiences that brought them to the theater. And that reality is already evolving into greater media consumption, and it’s likely changing the face of all Chinese-Americans on the screen. Chinese Hollywood could potentially just miss the mark. This also explains why it’s so interesting that China’s moviegoers go in their respective directions and explore the culture they both can communicate about. But in this ongoing dialogue, each of the actors in “Reality Check” has done well to paint a more lighthearted image of Chinese life.

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It’s especially refreshing, in part because, while Han Solo and their more casual American roles in China may appeal to some, films with Han Solo and Luke Skywalker attached at least as much to this background as those that have Han Solo and Han Solo and George Lucas–especially in contrast with the current Chinese propped up up by Asian actors. That said, at the same time that having an older star could make an older American star — if that star represents the current cultural age– even more appealing, sometimes even easier for Chinese people. One might argue that “Reality Check” is an example of just one of many of the films that the U.S. is currently trying get more embrace with its older generation.

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These are movies telling stories based on the older voices played, characters created by agents of new generations who’ve turned out to not be as adept or seasoned as the present day. But even as this plays out, America still holds the “I think a Korean thing is cool” star position as a cultural benchmark.