Synopsis
Over a fleeting week and a half, twenty-somethings Michael and Laura find counterparts within each other and form a deep, intense connection that is tested by their inevitable separation.
2020 Directed by Denny Wong
Over a fleeting week and a half, twenty-somethings Michael and Laura find counterparts within each other and form a deep, intense connection that is tested by their inevitable separation.
This movie suffers from the trap of rom-com cliches. The all-too-common corny dialogue, the slow-mo montages, romantic synth soundtrack music. I like the detached vibe of the cinematography but very often, in the case of wide shots, they lasted a little too long and thus made me uncomfortable.
It nevertheless takes its time—with the characters—to ask questions about life, the future, and find themselves in an utterly confusing world. There’s also good chemistry between the leads and the characters both compliment each other quite well in that they are taking one day at a time.
Was this written by a 15-year-old after a breakup? So cringe. That's the bad thing about indie filmmaking, sometimes you come across incredible and brilliant things, and most of the time you end up watching things like this. I should stick with festival material and leave VOD alone.
I had an existential crisis while watching Denny Wong's HOLD FAST, GOOD LUCK. My initial reaction was preparing for the Asian-guy-white-girl stereotype that a surprising amount of Asian American male filmmakers seem to always use; especially a white blonde girl of a particular "look," you know: liberal, slim, arty, hipster, etc. Is it a coincidence that the lead actress, Olivia Hamilton, is married to LA LA LAND, Damien Chazelle?
But when the film was nearing the end, I realized race, culture, politics, and stereotypes were never once mentioned or alluded to at any point in the story. That's when my existential crisis came in.
Why did I immediately assume the worst liberal racist movie cliches? What made me have an…
This movie suffers from the trap of rom-com cliches. The all-too-common corny dialogue, the slow-mo montages, romantic synth soundtrack music. I like the detached vibe of the cinematography but very often, in the case of wide shots, they lasted a little too long and thus made me uncomfortable.
It nevertheless takes its time—with the characters—to ask questions about life, the future, and find themselves in an utterly confusing world. There’s also good chemistry between the leads and the characters both compliment each other quite well in that they are taking one day at a time.
Was this written by a 15-year-old after a breakup? So cringe. That's the bad thing about indie filmmaking, sometimes you come across incredible and brilliant things, and most of the time you end up watching things like this. I should stick with festival material and leave VOD alone.
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