THE directing debut of indie-film editor Stanley Tam Kwok-ming, recently acclaimed for his work as an editor on Pang Ho-cheung’s “Exodus,” displays the strengths and weaknesses of a freshman feature. It tackles a subject that is intimate and cerebral but virtually devoid of ostensible “commercial” gimmicks. The good intentions, however, are not helped by historical incongruities in the narrative.

The film shuttles between Hong Kong and Shanghai to tell the tale of 29-year-old Lan Xin (Monie Tung), who moves back into her old family home in Tokwawan after the death of her mother. The move gives her an opportunity to reconnect with family friend, Auntie Lan (Koo Kam-Wah), as well as rekindle her friendship with childhood pal, Big Head (Sammy).

In returning to her old home, Lan Xin begins to reflect on her wayward life, noting that she had never traveled overseas with her mother and, perhaps, did not know her very well at all. Lan Xin ultimately retraces her mother’s footsteps, traveling back to her mother’s Shanghai neighborhood along with Auntie Lan. The visit is highlighted by Auntie Lan’s tearful reunions with old friends, and Lan Xin makes some small personal discoveries as she quietly immerses herself in her mother’s early environment.

Her journey in the film is internal, and given the narrative’s lack of urgency or action, the film’s success seems to hinge heavily on the performance of Monie Tung. She acquits herself adequately, considering the inert nature of the film, never overplaying the part even when given opportunities to do so.

Tung, however, still has difficulty channeling the proper inner life for her character. The actress is never vacant, but as the film’s drama is dependent on her inner emotions, Tung needs to be able to carry the film wordlessly. Not helping her is the fact that Lan Xin is not fully fleshed out. We learn a lot about her through her voiceover, plus her interaction with Big Head, but even more information about her life would have helped. What does she do for a living? Who are her other friends? Stanley Tam’s screenplay has proper dramatic themes, but it lacks additional details that would create a more convincing one.

Sammy Leung is likable and solid as romantic interest Big Head, although his character is underwritten too, and seems to have little function apart from a conscience/facilitator for Lan Xin’s personal growth. Even more, he simply doesn’t look like a man who would be hanging out on street level Tokwawan, as he still possesses that primped up media star sheen.

The film’s style is observational and contemplative, giving the audience space to involve themselves in the film’s slow, seemingly realistic events. However, the actors are not able to create the reality necessary for the film to truly become exceptional, and resemble a screenwriter’s creations more than real characters. Despite the film’s street-level approximation of a living, breathing Hong Kong, much of the film still feels artificial.

Where the film does succeed is in its simple environments and appreciable indie film feel. The HD Video image is well-utilized, possessing decent depth of field, and Tam’s technique is frequently effective, with many long takes, slow pans, and obscured POV giving the film a sense of realistic intimacy.

At the same time, the way in which the characters interact seems too contrived, as if they’re not speaking so much as channeling a screenwriter’s intent.

“Breeze of July” was shot in only 10 days on a shoestring budget and is a decent achievement considering what Tam had to work with. However, a good portion of that achievement is simply related to scale. “Breeze of July” is a respectable independent feature that feels sincere, but it’s not really a standout work.