HOLD FAST, GOOD LUCK is a feature in development about connection, respite, and a lost generation of Americans. The story follows a transient relationship between a pair of contemporary twenty-somethings who find counterparts in one another while grappling with the question of what to do with their lives.
We are currently in post-production and seeking additional funding.
Please feel free to contact for any additional details.
Michael - Your college-educated, high-achieving, and self-aware 24 year-old young professional, who heads up to San Francisco for a weekend away from his busy and consuming lifestyle to blow off some steam.
Laura - An educated, decidedly capable, and conscientious 24 year-old has become recently unemployed (by choice), and moves back down to the San Francisco Bay Area to leave her car and possessions at her parents’ house before moving to Europe for a year.
Laura’s return to San Francisco coincides with Michael’s visit, and a mutual group of friends bring the two together, where they develop an instant connection given their similarly uncertain places in life and paradoxically optimistic yet weary outlooks on the world. They spend the weekend together; drinking, fucking, eating, revelling in the company of friends, understanding quietly that this is the catharsis and respite their lives have been begging for.
At the end of the weekend, fortuitous timing and a spontaneous, ‘fuck-it’ decision lead to the two spending the next week together in Los Angeles, where Michael resides. During this week, their comfortable and carefree relationship contrasts their individual discontentment. The root of this dissatisfaction is the great question of this American generation: what is one to do with the immense amount of personal freedom we are blessed with in the West, and how does one live a good life?
It is an imposing question, and although Michael and Laura are unable to answer it completely, they find solace in their mutual exploration of the subject. Throughout a booze-drenched week of spirited discussion and indulgence in life’s carnal pleasures (one that has come to be expected from contemporary Los Angeles), they deepen their initial compatibility into a robust and severe mutual respect and affection for each other. However, their connection proves ill-fated due to Laura’s predetermined plans to depart for Europe. Their time apart begins strongly before slowly burning out like so many encounters we have with one another in this world.
The topics of ennui, the paradox of the restrictive freedom, and the difficulty of finding one’s way are embodied during their time apart, a stark contrast from the time they’d spent together. As industrious people, they try to cope and carry on, working, studying, fucking, drinking, and commiserating with friends in concerted efforts to fix things for themselves.
Eventually, they encounter each other again, at a house party in Los Angeles that recalls the initial weekend of joyous relief. They find themselves once again in involved conversation, remembering why they felt so strongly about each other before. The night goes on until they are faced with the decision of whether or not to reignite their relationship.
For the sake of personal progress, both decide against it. By the next morning, both are already unsure of the previous night’s decision, and once again faced with the uncertainty of their direction going forward.
Hold Fast, Good Luck takes a deeper, more realistic look at issues facing American Millennials while its cinematic approach exploration of today’s zeitgeist sets it apart from current indie offerings. We feel that there is a facet of American twenty-something life today that has yet to be explored in cinema. There are roughly 76 million American Millennials, but few representations of them on screen past the stereotypes and even fewer of them made by directors and writers under the age of thirty. Hold Fast Good Luck aims to fill a generation’s need for self realization while at the same time exploring relevant universal issues