Grad Student’s ‘No English in America’ Wins Best Doc at Lowell Festival  

Jing Dong’s award-winning documentary No English in America has a very personal meaning to her. As a child, Dong, MA ’26 said she remembers a teaching shouting, “No English! No money!”

Dong made the film as part of her Hybrid Documentary class, and it also spoke to judges of the Lowell Film Festival, where it won best documentary. The Film & Media Art graduate student answered questions from Emerson Today about the film, why it’s regarded as a hybrid documentary, her Emerson experience, and more.

Q&A with Jing Dong, MA ’26

What is No English in America about?

Dong: Short Synopsis: Wei Ding, a Chinese man who can only respond with “Sorry, no English,” when spoken to in English, has successfully built and run two restaurants in Boston.

While language hasn’t stood in the way of his success, it has created a distance between him and his children. Through Wei Ding and his family, this story explores what language truly means for immigrant families and the unseen barriers it can create.

What inspired you to make this film? 

Dong: There were two sources of inspiration.

When I first arrived in the U.S., I was deeply anxious about my English. I had always been strong in Chinese—particularly in language and writing—and I had heavily relied on those skills in my previous work. Coming to the U.S. meant losing one of my great advantages. I had no confidence in whether I could succeed in graduate-level study and creative work without that ability.

It was during that time that I met Wei Ding. At the dinner table, he would laugh and say that after eight years in America, the best English he could still say was “Sorry, no English.” And yet, he lived well. He owned two restaurants in Boston, cared for his family, and raised three children. That was an immense comfort to me at the time.

It also reminded me of a speech I heard as a child. A teacher once stood on stage and led hundreds of people in shouting, “No English. No money!” The crowd was wildly enthusiastic, but I couldn’t relate to it at all. Now, more than a decade later, Wei Ding’s story feels like a distant reply to that old slogan. I knew then—it was a story worth telling.

The film is described it as a ‘hybrid documentary‘ — what makes it hybrid?

Dong: In my understanding, a hybrid documentary breaks free from traditional documentary conventions by incorporating various artistic forms into storytelling. In the production of this short film, I integrated archival footage, animation, and reenactment (though the reenactment was unfortunately cut in post-production due to time constraints). These elements, combined with documentary footage and interviews, all work together to serve the story—making the viewing experience more engaging for the audience.

How did your time at Emerson College help you professionally?

Dong: This is my fourth semester at Emerson, and throughout this journey, many professors and faculty members have offered tremendous support—not only in terms of professional skills, but also in shaping how I think about being a good director and how to collaborate more effectively with a creative team.

When it comes to No English In America, [Visual & Media Arts Professor & Associate Chair of Curriculum] L. Marc Fields — who teaches Hybrid Documentary — was undoubtedly the most influential figure. He was deeply involved in every stage of the project, from the initial concept to production and post-editing, providing sincere and invaluable feedback throughout. Documentary filmmaking is a process of embracing change, and some changes, when things go off track, can be frustrating. In those moments, Marc consistently helped me see the positive potential within those shifts, guiding me to reorient the project in ways that allowed it to evolve toward deeper, more meaningful themes.

I also took a cinematography class that semester with [Visual & Media Arts affiliated faculty member] Sabine Bou Jaoude, an experienced cinematographer. She not only helped me become more confident and comfortable with camera and lighting work, but also taught me specific techniques for documentary shooting. Without those skills, I wouldn’t have been able to capture the precious moments of this adorable family. I also shared my rough cut with [Visual & Media Arts Director of Production Safety & Sustainability] Homa Sarabi, and I truly appreciate the valuable feedback and guidance she provided to help make this short piece stronger.

Did you attend the screening of the film at the Lowell Film Festival on April 5?

Dong: Yes. It’s the best experience a director can have—to witness an audience laugh, sigh, and fall into silence at the exact moments you imagined while editing.

During post-production, I often found myself wondering: Will the audience find this moment funny? Can they feel his loneliness as the tone shifts toward sadness? I believe many directors ask themselves these similar questions, yet no one can offer a definitive answer in that moment—except the audience itself. They knew nothing about the backstory of the project. They didn’t even know the director was sitting among them. And yet, in just 13 minutes, they gave me the most honest—and the most encouraging—feedback I could ask for.

For me, a screening is a moment of testing those creative instincts. Every test is precious. And the accumulation of those moments forms the foundation of a director’s experience and confidence. I’m truly grateful to the Lowell Film Festival for selecting No English In America and giving me this rare and meaningful opportunity to test and grow.

What did you think when you heard that the film had won?

Dong: I was genuinely surprised—I hadn’t expected this at all.

No English In America is the first fully realized project I’ve completed since coming to Emerson. I handled everything myself—from shooting and editing and animation. Of course, I brought some experience with me, but even more importantly, I applied the new knowledge and ways of thinking I’ve gained here at Emerson. In many ways, this project felt like a midterm reflection—something I submitted midway through my journey. I’m really happy that this “midterm” turned out better than I expected.