The red door on the Wong family home is not a symbol of harmony; it′s ironic. The Wongs are trapped in a cold, incommunicative cycle to such a degree that newly retired Ed Wong is planning on leaving home and his rebellious daughters as soon as he can. Samantha is the eldest, forced into a proper life that she bitterly resents. Julia is in the middle, a medical student, and she falls in love with an actress that′s researching a role. The youngest, Katie, is engaged in a fierce prank war with her neighbor Simon, but also finds an odd sort of emotional connection with him. Central to the story are old videotapes that Ed finds as he′s preparing to leave, and the images contained on them that force each of the Wongs to revisit the past, evaluate the present, and move forward. Georgia Lee feels that she′s made a film of relevance not purely to Chinese Americans: many families struggle with intimacy and connection, and Red Doors challenges the relevance of our accepted notions of family.