Tag Archives: predictability

A Harvard MBA grad knew the immigrant dream wasn’t for her. She moved back to China to build something of her own.

Growing up between two cultures shaped Sally Tian’s perspective on the world. Tian was born in Guangzhou, China, and lived there until she was 10, when her family moved to Vancouver. At 15, she returned to China to attend an international school before heading to Toronto for college, where she later started her career in management consulting.

“I thought, ‘I’m going to fulfill the immigrant dream. I’m going to get a great corporate job and all that,'” Tian, now 30, told Business Insider. However, the predictability of her days left her wanting more. After three years, she moved to Beijing in 2020 to work for a major Chinese tech company.

What was meant to be a one-year stay in China stretched to nearly three years. After a year in Beijing, she was relocated to Shanghai, where she remained in the role for another year before moving on to a startup. In 2023, amid prolonged lockdowns in Shanghai, Tian and her boyfriend left for graduate school in the US, hoping the time away would help them decide where to build their future.

After two years of pursuing her MBA at Harvard, Tian said she found her answer: The life she wanted didn’t include a corporate job. Instead, she and her boyfriend wanted to start a search fund, which involves looking for and acquiring a small business to run themselves.

“I would say a lot of the reason why people want to do it is because they don’t want to work for someone else. They want to be their own boss, and I definitely want to do that as well,” Tian said.

### Moving Back to China

While search funds are more common in the US, Tian said China felt like the place where she could make it work. In September, she and her boyfriend packed up their bags and moved back.

The couple considered several cities, including Guangzhou, but ultimately chose Shanghai for its strong investor network and business opportunities. With the help of a real estate agent, they found a three-bedroom apartment located about 40 minutes from the city center. The monthly rent is 8,900 Chinese yuan, or about $1,270.

The neighborhood has everything they need, including a mall, a Sam’s Club, and a Costco, Tian said. Due to its proximity to many international schools, there are a lot of expats living in their area too.

“Culturally, I understand. I just feel like this is my home, and I don’t feel like I’m doing it in someone else’s home,” Tian said.

Moreover, she said the success of her search fund in the US would depend heavily on relationship-building with potential sellers, which she felt would be more challenging due to cultural differences.

“I don’t think I can connect as well with, for example, a Midwest person in their 50s or 60s, or all the sports that they’re into,” she said.

### Search Fund Landscape and Opportunities

A 2024 Stanford report of 681 search funds formed in the US and Canada since 1984 found that investors have put about $1.45 billion into search funds and search-acquired companies over the past four years.

While search funds remain rare in China compared to the US, Tian believes that gap represents opportunity. While services and enterprise software dominate most North American search fund acquisitions, Tian said her focus in China is broader, spanning B2B services, B2C franchises, and manufacturing.

Many first-generation business owners in China are likely now in their 60s and 70s and are seeking a plan to pass on their businesses to their children, who may not be interested in taking over, she said.

Private enterprises make up more than 90% of all companies in China, and about 80% of those private firms are family businesses, according to a 2023 report from the All-China Federation of Industry and Commerce.

### Rethinking Her Identity

Tian said living and working across countries forced her to rethink her identity. Growing up as an immigrant in Canada, she said, changed family dynamics early on because everyone was focused on surviving in a new country.

There was a sharp divide between those who had assimilated into Canadian culture and those who hadn’t. In that environment, it was common for immigrant kids to distance themselves from their own culture and even from their parents, she said.

“There’s this social behavior where you feel like you need to put down your own identity so that you can adapt to the main culture,” Tian said.

When she first moved back to China for work, Tian believed she already knew who she was, with an established life and friends in Canada. She didn’t expect to change much. But that assumption quickly fell apart.

“I realized that if I wanted to do my job well, and relate to my coworkers, I would have to really understand how they think,” she said.

Over time, this process prompted her to reflect more deeply on her own identity and become more empathetic toward the experiences of those around her.

Returning to China, she said, helped her reconnect with her roots and, in the process, better understand her immigrant parents’ struggles.

“I feel like moving to China has really helped me heal my relationship with my parents too, and just see them in a completely different way,” she said.
https://www.businessinsider.com/millennial-moved-back-to-china-shanghai-work-identity-search-fund-2026-1

A Great Story, ‘Auction’ Is Weakened by the Director’s Dithering

Pascal Bonitzer’s “Auction” boasts a compelling story, but the movie itself feels inconsistent and often arbitrary. Based on a script inspired by true events, Mr. Bonitzer dutifully outlines a basic trajectory, yet he adds narrative detours that feel unnecessary or, worse, clichéd.

Granted, a “feel good” movie often leans on predictability—it’s no spoiler to say that a happy ending is de rigueur for the genre. However, why the director chose to linger on these elements to such an extent remains puzzling. This is especially surprising considering Mr. Bonitzer’s extensive experience. “Auction” marks his 12th film, and prior to this, he contributed to over 48 screenplays for renowned directors such as Jacques Rivette, André Téchiné, and Anne Fontaine. He began his career as a critic at the famed French film journal, *Cahiers du Cinéma*, where his writing was notably erudite.

If you appreciate serious, intense commentary about “the atony of commentary,” Mr. Bonitzer might be the perfect cinematic guide. But “Auction” is not that dense or obscure. Despite some well-deserved jabs at the art market and its beneficiaries, the film remains light on its feet.

The opening scene is nearly brilliant: a rapacious connoisseur working for a major auction house, André Masson (Alex Lutz), accompanied by his new intern, Aurore (a stern and steely Louise Chevillotte), visits the home of a wealthy dowager (Marisa Borini). The elderly woman is eager to sell a significant work of art, but when she begins to pontificate about family, money, and minorities, what starts as a business transaction over tea morphs into a high farce. The result is discomfiting comedy of a high order.

Mr. Bonitzer’s script, co-written with Ilana Lolic, retains some of its wit, but “Auction” loses momentum as it slides into soap opera territory—or rather, a patchwork of soap operas. The push and pull between human desires is an evergreen topic, but the narrative Mr. Bonitzer and Ms. Lolic have crafted succumbs to overly cutesy tactics that feel less soft-hearted and more soft-headed.

For all its Frenchness, “Auction” unfolds with the dramatic subtlety of a by-the-numbers American romcom. Still, the story is worth recounting.

Through a friendly lawyer, Suzanne Egerman (Nora Hamzawi), and his ex-wife, Bertina (an always welcome Léa Drucker), Masson learns about a potentially valuable painting hidden in faraway Mulhouse, an industrial town out in the sticks. The canvas is found in the home of a single mother (Laurence Côte) and her 30-something son, Martin (Arcadi Radeff). When not working at the local chemical factory, Martin hangs out with his two ne’er-do-well friends, Paco (Matthieu Lucci) and Kamel (Ilies Kadri). They are rough but amicable, if a bit awkward around women.

The painting Martin has haphazardly hung in his bedroom is believed by Suzanne to be *Wilted Sunflowers (Autumn Sun II)* (1914), a work by Austrian expressionist Egon Schiele. The piece was stolen by the Nazis and presumed lost. When Masson and his team confirm its authenticity, they contact the descendants of the family from whom it was stolen.

Bob Wahlberg (Doug Rand) is astonished and grateful for the discovery. So much so, he proposes that Martin receive a 10 percent cut of the proceeds once the artwork goes up for auction.

Given the historical, artistic, and cultural significance fueling this tale of redemption, one might expect the film to possess more depth or flair. However, Mr. Bonitzer and Ms. Lolic often spend their time either connecting narrative dots to blandly reassuring effect or sprinkling factoids about the characters that feel neither as revealing nor as shocking as intended.

“Auction” attempts high drama, a touch of class analysis, and a dash of gender politics, but ultimately boils down to a likable, easily digestible entertainment. It’s better suited as inflight viewing than a night out on the town.
https://www.nysun.com/article/a-great-story-auction-is-weakened-by-the-directors-dithering