Lloyd Lee Choi's Lucky Lu is influenced by delivery drivers during the pandemic.

      Lloyd Lee Choi drew inspiration for his film Lucky Lu from his encounters with delivery drivers in Brooklyn during the pandemic. He shares that the film, which premieres today as part of Cannes Film Festival's Directors Fortnight, delves into the lives of these individuals, moving beyond their roles as "nameless, faceless men in hefty jackets and beat-up helmets whipping through the streets on their e-bikes."

      Choi recognizes the allure of framing a fictional narrative as a documentary, particularly when inspired by real-life individuals. He clarifies that adopting a character-first approach in writing allowed Lucky Lu to remain distinctly fictional.

      “The essence of the film revolves around this character and his experiences as he faces a dilemma,” Choi explains. “That was the driving force for me: to capture the intimate perspective of this ordinary guy, this invisible worker who we see every day.”

      Lucky Lu follows a single day in the life of Lu, a New York City delivery rider played by a nearly unrecognizable Chang Chen, known for his roles in Crouching Tiger, Hidden Dragon and Dune: Part One.

      When Lu unexpectedly loses his primary source of income as his long-estranged family arrives from Asia, he must navigate the harsh realities of the city and strive to maintain the fragile life he has painstakingly built.

      The film is based on Choi's short film, “Same Old,” which debuted at the 75th Cannes Film Festival in the Main Competition. It went on to premiere at TIFF, receiving a Special Jury Mention, and was featured at the New York Film Festival and Raindance, where it won Best Short. Choi's recent short film, "Closing Dynasty," earned the Crystal Bear for Best Short Film at the 73rd Berlinale, the Audience Award at SXSW, and the Grand Jury Prize at AFI Fest before being released on Netflix.

      MovieMaker interviewed Lloyd Lee Choi ahead of the world premiere of Lucky Lu at Cannes.

      Joshua Encinias: I noticed a Nosferatu poster in a scene outside of a subway station. That indicates you must have filmed last November? When did you shoot?

      Lloyd Lee Choi: Yes, you have a keen eye. We shot from mid-December to late January, wrapping up at the end of January. We just completed the movie about a week ago. It was a frantic rush to get everything ready, especially since we were premiering in two days.

      Joshua Encinias: How does Cannes operate? Do they say, “You’re in, so have a movie ready”? How did you get into the Directors’ Fortnight when your film wasn't ready until just a week ago?

      Lloyd Lee Choi: We submitted a rough cut. We were aware of the deadline and aimed to be here. I had our editor, Brendan Mills, starting the editing process while we were still shooting, knowing we were on a tight timeline. Cannes reviews many rough cuts, so you just indicate at the start that it’s a "work in progress," so there are no expectations for sound design or color. What we submitted was very close to the final version. Even in that rough state, they could see the film’s potential and essence.

      Joshua Encinias: While watching the film, several movies about the New York immigrant experience in the 21st century came to mind, such as Man Push Cart by Ramin Bahrani, Sean Baker’s Takeout, and Heidi Ewing’s I Carry You With Me. Were you considering Lucky Lu's place in that genre?

      Lloyd Lee Choi: I’m definitely inspired by those films, but I aim to focus specifically on this community and experience. I also wanted to capture what post-Covid New York looks like—the yellow cabs are iconic, but delivery drivers have become the true background of every city street. I found that very intriguing and wanted to delve into it, which has grown tremendously in the past five years.

      Joshua Encinias: How do you portray the experience of delivery drivers in a cinematic way that isn’t instructional or didactic?

      Lloyd Lee Choi: We used an observational shooting style. In terms of camera work and framing, I didn’t want to manipulate audience emotions with push-ins and tight shots. I wanted it to be an observation. We wanted to make close-ups significant. This was important for my DP, Norm Li, as we aimed to create an authentic, grounded feeling by watching this character without imposing emotion. Many shots feature him in the city amongst the crowd but from a distance.

      Joshua Encinias: Did you engage in classic New York run-and-gun filming?

      Lloyd Lee Choi: Absolutely. Any filmmaker working in New York will tell you that you have to adapt quickly. Circumstances change every day. We had to adjust when locations fell through or when people stared at the camera. Many things can disrupt your plans. But there's a certain magic to it, and our approach was