Two immigrants living in the United States each find unique ways to make a living, make ends meet, and ultimately support themselves and their families back home. When things in the hustle and bustle of the city begin to get in the way of their friendship, and the dangers of everyday life threaten to tear them apart, the two new friends, with the help of a couple other acquaintances, must find a way to survive in both the literal and figurative senses. Floating Weeds tells the story of a series of individuals trying to find their place in the world as they are pulled in numerous directions, slaves to the tide of life.
Floating Weeds very interestingly manages to be both fast-paced and slow-moving. Writer-Director G.F. Chan fits a lot of content into a short film; everything from love, to immigration, to tragedy plays a role in Floating Weeds, but Chan finds a way to make things flow smoothly and effectively. With that much content in just a short amount of time, it can be difficult for viewers to follow if things aren’t done properly–but Chan appears to have a wonderful and complex understanding of how to pace his film, how to incorporate numerous ideas, and how to reach his viewers effectively.
There are a number of messages that Chan is attempting to convey throughout the course of Floating Weeds, and there are a series of ideas that, at one point or another, become the focus of the film. Things like violence, immigration, corruption, love, and more step into the spotlight at one moment or another, and they assert themselves as massively important parts of Floating Weeds. The world is able to relate to these sentiments, and they are able to clearly see exactly what Chan is trying to say to the world on each topic. She’s clear in his vision, and she’s able to touch the far reaches of the world throughout the course of his project. These topics are relevant, touching, and beautifully constructed.
Backtracking a bit, the messages that stem from the topics sprinkled throughout Floating Weeds become the heart and soul of the film. Understanding love and what it means to sacrifice everything out of love and/or passion can be a difficult point to convey to viewers, but Chan does it with great aplomb. She conveys the passion present in the decisions made throughout the film, and viewers are likely to feel an overwhelming wave of emotion from beginning to end. Floating Weeds appeals to emotion throughout its entirety, and there’s no way you walk away without feeling what these characters feel.
Separate from the emotional aspect of the film, the thing I’m most impressed with in Floating Weeds is the location. These places feel genuine: they aren’t some sound stage, and they don’t feel like random places that the crew has found that are just good enough to do what they need. The locations in which Chan filmed Floating Weeds fits perfectly with his narrative, his tone, his entire purpose–and every second of the film feels more real, more honest as a result.
Floating Weeds is one of the most compelling films that I’ve seen in some time, and Chan manages to capture nearly every aspect of the film with grace and impeccable purpose. It’s a simple film that manages to possess levels of meaning, and Chan and his wonderful cast never relent. While they never stop pushing the purpose of the film on viewers, they find a balance, never being too aggressive, always finding ways to reach viewers appropriately. Floating Weeds tugs at the heart strings from the opening moments, and it will likely reach the depths of your heart and soul. Floating Weeds is brilliantly done, so meticulously developed, that even the title is full of life.
Written & Directed by G.F. Chan.
Starring Mingjie Li, Christian Elán Ortiz, Dan Berkey, & Ao Lan Guo.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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