This Is Your Song

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.

Holy cow! This film is just exceptional! Lets begin with the acting because if that sucks we're all done right??!! The two leads were out of this world incredibly good. Their chemistry was sensational. This is what held me and kept me glued in. Great casting for sure, my hats off to the casting director. This is wonderful storytelling on every level. Bravo to writer/director Hassan Said! I found zero flat spots in this gem of a film. Loved the pacing it moved along at a really nice pace. Clearly this film gets a thumbs up from me. Well done folks! You should all be very proud of yourselves on this very fine film you all have produced!!

This is Your Song tells the story of Jules (Briana Walsh) and James (Jordan Potch) on the night of their seven-year wedding anniversary. While the relationship is on the rocks Walsh and Potch create flawed yet likable characters. The costuming and set design are perfect for setting the mood and tone in this dark and gritty film. The camera work makes you feel like a voyeur through the passionate fight and make-up scenes. The highs and lows of the relationship are well-depicted through the music choices.

Both in lighting and theme, this story is reminiscent of the movie Biue Valentine, but it is unique. The way the director expresses the love and hurt that each has felt in the relationship keeps the viewer tuned in to see what will happen.

My one complaint is that the lighting made it difficult to read the actors' expressions during highly emotional scenes.

I loved the references to San Francisco both verbally and by the visual montage.

While the story is a slow burn it is worth seeing all the way to the end.

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.