You don’t come across all that many independent Hong Kong films, so that’s one solid reason right there to check out first time director Stanley Tam’s “Breeze of July.” The indie film, based on a short story by Chan Wai, delicately weaves its story concerning a young woman with skeletons in her closet and her attempts to re-connect with her roots. Previously, Stanly Tam worked on the production team for one of the best films of 2007, Ho-Cheung Pang’s “Exodus.”

Lan-Xin (Monie Tung) returns to Hong Kong from Vancouver to attend her mother’s funeral. At the funeral she asks Aunt Lan (Kam-wah Koo) if she would like a new roommate (Aunt Lan and Lan-Xin’s mother shared a Hong Kong apartment for many years). Aunt Lan is ecstatic and whole heartedly welcomes Lan-Xin into her apartment. There Lan-Xi relives her childhood memories. She even comes across childhood best friend Big Head (Sammy Leung) in the neighborhood.

At first Lan-Xin doesn’t recognize Big Head, but Big Head has no problems recognizing her. A crush that has lasted all these years seems to take new life after their chance encounter. But just as their relationship seems to be blossoming into something more, Lan-Xin’s Vancouver troubles start to affect her in Hong Kong and she decides to take a trip with Aunt Lan to Shanghai, the city where her mother grew up in. Meanwhile, Big Head is left alone wondering where their relationship stands.

The source material for “Breeze of July” comes from a short story and in retrospect “Breeze of July” could have been more effective if made into a music video or short film format. Stretching its premise for 90 minutes on the other hand, dilutes the film’s impact significantly. The core of the film revolves around unsaid feelings, hidden thoughts, and unstated actions from the past. These types of introspective moments work great in music videos or in print, but not as much in feature length films. “Breeze of July” tries to remedy this situation with the use of an acoustic guitar soundtrack, adding a music video feel to the movie, that works initially, but becomes more overbearing (like a faucet dripping water) as the film progresses.

On the positive side, the film offers gorgeous HD shot cinematography and a female lead, Monie Tung, able to give a strong performance in spite of the introspective nature of the script. On a sidenote, when Monie Tung pulled her hair back and wrapped a wool scarf around her head for her trip to Shanghai, she looked like Juri Ueno’s twin. Another positive with “Breeze of July” is the respectful portrayal of Shanghai itself. From the Bund to the French Concession the film does a great job to recreate the heartbeat of that city. At one moment when the movie did a close up shot of the “W. Central Huaihai Rd. E” street sign, I remembered myself looking into my digital camera to snap that very same picture.

You have to respect the effort put forth in “Breeze of July.” On a relatively shoe string budget and only 10 days to shoot the film (5 days in Hong Kong and 5 days in Shanghai), the film offers a lot for the eyes to absorb. But, by the end of the film, you’re left with the feeling that there should have been more there. More drama and more interplay between Lan-Xin and Big Head was needed. The movie’s attempt to recreate the introspective nature of those quiet moments when you think back to earlier times was a double edged sword. Many times it gave the move a feeling of warmth, like a cherished old blanket, but just as often it held back the film from ascending to higher heights.