Experiencing Interruptions?

Abandoned Adopted Here (20 mins)

Identity, is something that the majority of us take for granted. We see ourselves reflected back as we gaze into the eyes of our parents.Or watch TV, or go to the Cinema or Theatre. But what if your image just does not appear in society, or isn't the same as your parents? What then?
This in independent documentary looking at identity, adoption, transracial adoption, being British and of East Asian heritage (if there is such a thing?) Where do we fit in in the UK?

  • Lucy Chau Lai-Tuen
  • Lucy Sheen
  • Lucy Sheen
  • Lucy Sheen
    Key Cast
    Total Loss, George Misses, His Train, The Trip, Simana, The Mercury Factor, Ping Pong
  • Ronit Meranda
    Changing the World is the Only Fit Work for a Grown Man, Support Wi en Wi Go Bi (Support Us and We Will Be),The Palm Tree
  • Cathy Cuvelier
    Sound Recordists
    The Golden Cage , Harry the Piano Live at the Pheasantry , Harry the Piano Live at the Pheasantry Harry The Piano
  • Tim Bamber
    Sound Recordists
    Iran: The Sanctions Hotel - Witness, Jon Hendricks’ Miles Ahead, Another Place, Santiago, Munduruku Soundscapes
  • JC
  • Gary John Norman
  • M. Caner Ozcan
  • Lucy Sheen
  • Tim Bamber
    Post Poduction Sound
  • Eoghan Synnott
    Colour Grader
  • Kevin McLeod
  • Horst Reichhart
    Archive Hong Kong Film footage
  • Film Collectief
    Archive London footage
  • Project Type:
    Documentary, Short
  • Runtime:
    20 minutes
  • Completion Date:
    July 30, 2016
  • Production Budget:
    1,000 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Vault Film Festival
    United Kingdom
    February 3, 2017
    London Film Festival premiere
  • Women Over Fifties Film Festival
    United Kingdom
    Third overall in the documentary catagory
Director Biography - Lucy Sheen

Lucy Sheen: made in Hong Kong and exported to the UK as a transracial adoptee. Lucy is a dyslexic actor, published writer, (nom de plum Lucy Chau Lai-Tuen) filmmaker, trainer and transracial adoptee advocate. She loves Dim sum, Yorkshire puddings and tea.
Her first professional job, the female lead in the ground breaking British feature film PING PONG (1987), directed by Po Ch’ih Leong. The first ever UK feature to look at the history and issues of the British-Chinese community.
Other feature films include Business As Usual (1987) Secrets & Lies (1996), Something Good:The Mercury Factor (2013)
Theatre credits include: Julius Caesar Portia -Bristol Old Vic (1987); Drink the Mercury Ioka nominated for a TMA (first British East Asian actress to be nominated for a major UK theatre award 1990); Hungry Ghosts Tim Luscombe, nominated for an OFFIE for best actress 2010. Plenty directed by the award winning
Thea Sharrock (2011). Sugar-Coated Bullets of the Bourgeoisie (2016), Snow In Midsummer RSC (2017), The Scar Test Soho Theatre (2017)
TV credits include: Prime Suspect 2; Lovejoy; Eastenders and Nighty Night series 2. Call The Midwife (2017)
Radio credits include: Words On A Night Breeze, Bound Feet and Western Dress. Lucy is currently in postproduction for her independent documentary Abandoned, Adopted, Here [http link http://youtu.be/--KbumU3D_M]
2011 Lucy wrote & performed her solo theatre piece There Are Two Perfectly Good Me’s: One dead, the other unborn, [http link http://youtu.be/73zgGoF-Ufc] a dramatic solo performance looking into the issues of growing up as a transracial adoptee. Lucy is hoping to tour internationally so is looking for a producer.
2012 Lucy’s short play WAITING was selected for the REDfest new writers competition at The Old Red Lion Pub Theatre
Lucy has just won two small writing commissions for 2015
Re:Play writing bursary for Nimble Fish
The Royal Court (Open Court)
Pains Plough/Tamasha Come To Where I’m From: London - now available by their free App (Come To Where I’m From)
As well as completing the above commissions
Work in progress
Conversations With My Unknown Mother
The Silence of Chung Sing Loo (working title)
ShoFu, Wianbu Pi being read as part of the 2017 Women and War festival

Add Director Biography
Director Statement

Director’s Statement:
There was a brief period in my life when I knew without certainty who and what I was. For the first six years of my life I truly believed that I was like everyone else. I was a white Caucasian child growing up in rural England.
What a blow to find out shortly after I’d started school that I was not what I thought I was. I was in fact a transracially adopted Hong Kong Chinese foundling. One of one hundred and six, the first ever group of children to be transracially adopted by English families during the late 50s to early 60s.
One could say that from that point it was all down hill. My formative years revolved around trying to get to grips with who and exactly what I was. So when I was contacted by BAAF (British Adoption and Fostering) asking me whether I wanted to participate in their research study on Chinese adoptees the door swung open again and I began to wonder about my birth parents. I was curious to know, had any of the other foundlings that were adopted in the UK shared my struggle to find an identity. Did any of the other British East Asians that I knew, how did they view their own identity?
The saying if you want something doing right then you should do it yourself, in this particular case holds true. This is my first film as a Producer, director and writer. But the subject matter is so close to my heart and the treatment and approach to both adult adoptees and British East Asians needed to be at once both sympathetic and empathetic. The first Producer that I hired turned out to be neither and was not interested in the story and the connection of emotions, thoughts, ideas and perceptions that I wanted explore.
I’d like to think that I have learnt a lot from this inaugural experience. That the documentary that I have produced will spark debate and discussion about the place and the nature of belonging in the UK for an East Asian. That it will allow greater and more frank discussion amongst the professionals in the adoption profession about culture, ethnicity and race.

I don’t claim and neither do I aim to offer solutions – but to provoke communication. To illicit interest in people and circumstances that many times and oft are side barred or ignored.

I have been able to combine two things that are very important in my life the fact that I’m a transracial adoptee and the fact that I’m a British East Asian Artists.