‘Lucky Lu’ Review: An Authentically Downbeat New York Story About a Chinese Migrant Struggling to Welcome His Family

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In Lloyd Lee Choi’s debut drama “Lucky”, the prefix to the lead character’s name seems deliberately ironic: Throughout the film, Lu appears to be the least fortunate resident of New York. However, this gritty and realistic immigrant story challenges the notion of luck in a city as merciless as a jungle, where only the fittest thrive. Is success defined by wealth and a high-rise apartment in Tribeca? Or does it entail being surrounded by love regardless of one’s location?

Reminiscent of the Italian neorealist film “Bicycle Thieves,” the movie titled “Lucky Lu” tells a similar story, but with its own unique twists. A Chinese migrant, portrayed brilliantly by Chang Chen from “Crouching Tiger, Hidden Dragon,” finds his bicycle stolen at the beginning of the film. However, unlike Vittorio De Sica’s masterpiece, this film transforms into something more than a time-bound chase, delving deeper into exploring both its character and setting. It shifts focus from a race against the clock to a thoughtful analysis of the protagonist and his environment.

Following its debut at the Directors’ Fortnight in Cannes, Choi’s debut feature film is hoping to establish itself in the U.S. However, it’s challenging for independent films, as shown by the 22 producers and executive producers credited (including Forest Whitaker). Contrary to popular expectations, ‘Lucky Lu’ doesn’t have car or bike chases. Instead, a significant amount of effort, both in terms of labor and funding, was required to bring this raw film to life.

The movie was filmed prior to President Donald Trump’s second term, which likely won’t simplify the process of securing funding for projects like this. Additionally, it won’t make life any easier for a character such as Lu, who has been in the U.S. for five years and is struggling financially. This hardship intensifies when his wife, Si Yu (Fala Chen), and daughter, Yaya (Carabelle Manna Wei), arrive from China to join him.

Throughout a single day, Choi’s script (inspired by his earlier work “Same Old“, which was showcased at Cannes three years ago) follows Lu as he navigates a precarious journey to obtain the funds for an apartment, whose unscrupulous broker has absconded with the deposit. This predicament arises following the mysterious disappearance of Lu’s electric bike, leaving him with the difficult choice of finding a replacement or paying his food delivery boss a $1,000 fee for the missing vehicle.

In the world of Lucky Lu, it’s all about business, not pleasure. I’m Lu, and let me tell you, everyone’s got their hand out for something – either trying to fleece me for more dough or maybe offering a loan when I need it, but only in secret spots like that Chinatown loan brokerage. There’s no time for chit-chat or friendly greetings here; everybody’s hustling to get ahead. Despite us being fellow immigrants, nobody’s keen on lending a helping hand to another expat – secrets and self-interest are the order of the day.

Lu finds comfort in his family, who arrive weary from travel and laden with luggage, moving into a flat that Lu isn’t even certain he owns. As Si Yu starts to tidy up the place, Yaya opts to accompany her father, echoing another reference to the De Sica film. The girl soon observes that America hasn’t been particularly benevolent towards Lu throughout the years, with comments about his physical appearance (“You look so thin”). It becomes clear that at one point, Lu enjoyed a good life, operating and managing a soup dumpling restaurant, until it all crumbled.

Choi skillfully switches perspectives between Lu and Yaya throughout the day as the circumstances grow more urgent and critical. In a particularly striking moment, the diligent young girl strolls out of a laundromat when Lu is searching for additional money, eventually discovering an unlocked luxury brownstone nearby. She quietly makes her way upstairs and pilfers an expensive watch, understanding her father’s needs yet reluctant to act herself.

The impactful, understated moments are what make “Lucky Lu” compelling, as it tells its story in a minimalistic manner that differs from traditional realistic thrillers. Instead, it resembles more of an introspective two-character drama, where the protagonist begins to perceive life from a fresh perspective. Similar to both “Bicycle Thieves” and last year’s Cannes sensation “The Story of Souleymane“, it leans towards personal exploration rather than grand thriller elements.

In authentic Manhattan settings, Norm Li skillfully filmed (Blue Sun Palace) the movie, portraying NYC as a chilly, dim locale where the sun scarcely appears throughout the narrative. Lu is frequently positioned near windows, doorways, or passageways, emphasizing his solitude, while the scenery consists mainly of brick walls, iron fences, and messy storefronts. When Yaya disembarks from JFK’s bus for the first time, she notices the streets littered with trash. Had they truly been waiting all those years to arrive at this place?

The director doesn’t soften the reality of life in New York City for Lu, his family, or the struggling immigrant community. There are no victories or dreams fulfilled, no shared joy at Yankees games. At best, someone might help Lu out, though he insists on repaying them.

In the movie, despite his imperfections, he’s undeniably portrayed as the hero, while the city itself serves as the antagonist, devouring newcomers and transforming them into unfeeling gears in its relentless machinery. Once Lu comprehends this truth, he may be able to concentrate on what truly matters. With determination, effort, and perhaps a touch of good fortune, he could potentially succeed in New York.

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2025-05-27 20:55