Implementing mainstream Hollywood aesthetics in a Filipino setting can be a tricky business, but Jade Castro seems to know what he is doing in “LSS“, by creating a true feel-good movie that uses music as its base in the ideal way.
“LSS (Last Song Syndrome)” is screening at Osaka Asian Film Festival
The story revolves around two characters, Zach and Sarah. Zach works for a software company, is in love with his flat mate, who ignores his feelings however and jumps from one relationship to the other (including girls) and spends way too much time with his hip and progressive mother, with the two sharing a very significant bond since Zach’s father abandoned them years ago. Zach, however, longs to reunite with his father, despite his mother’s denial to do so.
Sarah is an aspiring singer, who has just moved in with her brother, whom she has to support while he finishes his studies. Her boyfriend is pushy, which creates a number of problems, and she cannot seem to get her break in the music industry, despite her evident talent. Zach and Sarah meet by a chance on a bus, and connect through their mutual taste in music and particularly their fondness of the Filipino group Ben&Ben. The film then follows their individual stories as they repeatedly reunite while chasing their dreams.
Jade Castro presents a delightful film, with the music-filled narrative presenting two very appealing stories that eventually intermingle, while making a number of comments about contemporary life in the Philippines. Family issues, the difficulties of relationships, the financial problems young people face, and the practices of the music industry are all depicted in the film. However, and despite some dramatic moments here and there (of which I thought Zach’s father arc was somewhat unnecessary), the overall sense the film emits is of the feel-good film, with the moments of humor and the fact that Castro does not seem to take his themes too seriously, works wonders in that regard, in essence being the main element for the significant level of entertainment the film offers.
This aspect also benefits the most by the editing by Jeremiah Domingo, which induces the movie with a very fitting fast pace while allowing each arc to unfold naturally through the well-timed succession of scenes.
Furthermore, the built-up of the romance is excellent, with Castro taking his time to present both the characters and the reasons that could bring them together. This aspect benefits the most by the acting, with Gabbi Garcia as Sara and Khalil Ramos as Zack giving very fitting performances.
Malay Javier and Pao Orendain’s cinematography is a bit too polished for my tastes, occasionally even making the film seem like a TV-program, but in general, I found it fitting to the overall aesthetics of the film, and not particularly bothersome.
Probably the best aspect of the production values is the music, with both Ben&Ben’s songs and Patricia R. Lasaten’s soundtrack “coating” the movie in the best way, adding to the essence every scene emits.
“Last Song Syndrome” is fun, easy to watch, and quite enjoyable (particularly if you like guitarist pop) and that is where its true value lies.
