This Is Your Song

Attending the LA premiere of THIS IS YOUR SONG proved to be an unexpected yet enriching cinematic voyage. Unacquainted with much beyond the trailer and the promising directorial finesse of Hassan Said, the film unfolded as a poignant reminder of the profound impact storytelling can have on the expansive canvas of cinema. An ode to character-driven dramas, THIS IS YOUR SONG emerges not just as a film but as a masterful composition, reverently tipping its hat to the cinematic classics while confidently charting a contemporary narrative course.

The performances, particularly from the debut leads, are a revelation-an emotive symphony that oscillates between celestial highs and gut-wrenching lows. The unexplored realms of emotion, traversed effortlessly by these first-time actors, lend the film a rare authenticity.

Beyond its narrative prowess, THIS IS YOUR SONG transcends the confines of mere Oscar-worthy recognition. It stands as a courageous plea in an industry that often sidesteps original, risk-taking auteurs, carving its own niche in the modern Hollywood landscape.

Yet, the film's triumph extends beyond narrative and performances. It resuscitates the collective theater experience, elevating it beyond mere nostalgia into a vibrant testament to the enduring power of storytelling on the grand screen.

In moments that left me trembling, THIS IS YOUR SONG etched a visceral cinematic experience rarely encountered in recent memory. Its poignant portrayal of love, both gained and lost, resonates profoundly, leaving an enduring imprint. Far more than a gem, this cinematic marvel is a triumph-an invitation to celebrate ingenuity and embrace the inherent risks that define true artistry.

THIS IS YOUR SONG in many ways reflects the reverence that one of the characters has for theater. With a seemingly single take for almost the entire production, the film exudes the intimacy of a theatrical play but with the added dimension of a dynamic, ever-moving camera. Kudos to the cast and cinematographer for their complex dance of choreography, dialogue, and framing.

The performances feel genuine, and the relationship between the characters is painfully authentic as we witness a single evening after Jules' successful stage performance and the celebration of their wedding anniversary. The two artists-James, a writer, and Jules, an actress-confront the practical reality of living in a difficult city as they navigate love, change, and adapt to the banalities of daily life. At times, the film makes us feel like voyeurs witnessing an emotionally awkward encounter.

It's not until the finale that the film resumes a conventional editorial style for a flashback depicting the evolution of their relationship. This climactic and welcome shift successfully signifies the significance of the finale, providing a powerful conclusion to their story.

THIS IS YOUR SONG is a masterful blend of theatrical and cinematic storytelling, creating an experience that is both intimate and visually engaging. The dedication of the cast and crew to this unique storytelling approach results in a film that resonates with authenticity and emotional depth.

Did you notice that long single take at the start that goes from the theatre, to the dressing room, to the bar, to the street, to the apartment? The film flows like a Speilberg-esque show that moves the camera and pulls sets and actors in and out of the shots pretty seamlessly. I found the colours of the sets, clothing and other elements to be the most satisfying feature of the whole film which is a visual delight, especially the closing beach scenes.

The acting flows well and especially noteworthy given the 1917 film style long takes which require significant rehearsal and line memorization. Kudos to the camera operator to squeeze into places without being revealed in mirrors or reflections.

These kinds of drama/ character films make the viewer stop and watch without scrolling on their phones and absorb the dialogue which is realistic and not trimmed down to satisfy 15 second shots and scenes like many other films. I also liked the fact that many parts of the story were shown and not told, a method that seems little used today.

Overall a visually fulfilling film and very impressive cinematography.

There's a moment, fleeting and poignant, or wretchedly ubiquitous: that could be ripped from the pages of the lives of anyone who watches this film. Any moment really. There's an uncomfortable familiarity to the intertwined lives of Jules and James as they arrive at the end of a long and tumultuous journey. Sometimes you might even feel as though they are our avatars. Through long uncut shots and emotive mood lighting, we go through it all. It's a visceral enough story that will resonate with most viewers. It's far from a smooth ride. This film can cut deep at times. These aren't likable people crafted for corporate media, they're real people. They're actors of course, although they embody their characters' truths so well, at times Jules and James appear to be the focus of a stylized documentary. This one hits home. Standout performances by Jordan Potch, Joanna Kay, and Briana Walsh.

Welcome back real filmmaking, I thought while watching this film. It's an impressive cinematic achievement since most of the story is done in two long takes. But this impressive feat still serves the story not the other way around. The story focuses on a relationship between two emotionally-scarred and passionate artists. Their Bohemian dreams haven't panned out the way they were expecting and it is time to take stock of their relationship. Briana Walsh and Jordan Potch are excellent in the emotional tug of war between their characters. You can see their desires, love, passion, and pathos play out in dialogue reminiscent of classic American dramatists like Edward Albee, Tennessee Williams, and Arthur Miller. This film has a classic feel to it in its lighting and set design. The long takes never feel stagey or call too much attention to themselves because of the capable camerawork and the focused direction of the director, Hassan Said. How he blocks a scene and the subsequent changes in lighting makes this cinematic, not just a theatrical experience. But it's the two characters that make this film a moving experience. They embody what Kerouac would call mad to to live, mad to talk, mad to be saved, desirous of everything at the same time. Their emotions turn on and off like the neon street signs outside their windows. If you enjoy classic films, smart dialogue, and innovative filmmaking, this is a film to watch.