The Hollywood Insider – ‘Oh Hi’
A Darkly Comic Indie Rom-Com Where A Spontaneous BDSM Twist Turns Into 12 Hours Of Handcuffed Chaos, And Surprising Emotional Depth
Sophie Brooks’ ‘Oh, Hi!’ is a film that seems to check all the genre boxes: part horror movie that veers into romantic comedy and slips into a psychological character study, and somehow emerges as a disarmingly earnest reflection on modern love. If that sounds like a tonal juggling act, that’s because it is, but what’s more impressive is that it mostly sticks the landing. Anchored by two deeply committed performances from Molly Gordon and Logan Lerman, ‘Oh, Hi!’ manages to be hilarious, tense, and even a little heartbreaking, often all at once.
Set in a cozy lakeside rental, ‘Oh, Hi!’ follows Iris (Gordon) and Isaac (Lerman), a couple on what appears to be a blissful weekend getaway. Their chemistry is immediate and believable: they sing Dolly Parton duets in the car, tease each other affectionately, and dive headfirst into playful intimacy. The early scenes paint a picture of romantic idealism, the kind of connection we all wish we could bottle and keep. It’s all red wine, lake swims, and quiet domestic moments. But just beneath the surface, Brooks hints at deeper currents. This is not just a love story; it’s a ticking time bomb.
And then, the bomb goes off.
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The Chains of Communication
Midway through their steamy retreat, Iris discovers a stash of BDSM equipment hidden in a closet. What begins as cheeky experimentation quickly escalates into something far more emotionally charged. After sex, Iris casually refers to the trip as their “first trip as a couple.” That single line, simple, even sweet, shatters the illusion. Isaac, still tied to the bedposts, tells her that he’s been seeing other people, that this isn’t what she thinks it is. In a moment of disbelief and quiet devastation, Iris walks away… and leaves him tied up.
From there, ‘Oh, Hi!’ becomes a sort of twisted anti-rom-com, one where the typical power dynamics are flipped on their head and raw emotion bubbles just beneath every laugh. Iris gives herself twelve hours to convince Isaac that what they have is real. It’s part negotiation, part breakdown, part personal therapy session. The chains, in a surprisingly clever move, become less a threat and more a metaphor, not for control, but for communication. Isaac can’t ghost, can’t deflect, can’t swipe left. He has to listen.
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Love in the Time of Red Flags
This is where the film really finds its groove. The comedy comes not from slapstick or gags, but from uncomfortable honesty and well-observed behavior. The dialogue is witty without being overwritten, and Brooks clearly understands the awkward rhythms of dating in the digital age. Gordon’s delivery hits a perfect balance of heartbreak and humor. She’s not unhinged, she’s heartbroken, confused, and maybe a little too in love with the idea of being in love.
Molly Gordon gives a performance that delicately walks a tightrope. She’s funny, unfiltered, and emotionally vulnerable, often in the same breath. There’s real pain in Iris’s attempts to force clarity where ambiguity was easier. She’s not trying to “win” the relationship; she’s trying to understand how something that felt so right could be so wrong. Gordon sells it all with subtlety and charm, never allowing Iris to devolve into a caricature.
Lerman, for his part, does a lot with very little movement. He spends most of the film quite literally tied down, but his face and voice do all the work. Isaac could’ve easily come across as the standard commitment-phobe, but Lerman gives him depth, a man who isn’t malicious, just terrified of confrontation. There’s a glimmer of understanding that grows between the two, even as the tension escalates. He’s not the villain, just someone who didn’t realize how much damage indifference can do.
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A Modern Day Romance Film for the Digital Generation
The supporting cast is a pleasant surprise. Geraldine Viswanathan, always a scene-stealer, brings a jolt of energy as Iris’s friend Max, and John Reynolds as her boyfriend Kenny injects just enough offbeat charm to keep things from getting too heavy. David Cross pops in as a suspicious local with great deadpan delivery, adding to the movie’s quietly surreal texture. Even the town of High Falls, with its slightly eerie vibes and beautiful, off-kilter lake house, becomes a character in its own right.
Visually, ‘Oh, Hi!’ is a treat. Cinematographer Conor Murphy captures the shifting emotional tone with striking precision. The same house that once felt romantic and safe transforms into something uncanny and claustrophobic as emotions unravel. It’s a clever visual representation of how a space, or a relationship, can feel entirely different based on context.
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Situationship’s Final Boss
What’s most impressive about ‘Oh, Hi!’ is that it never quite becomes the film you think it’s going to be. It flirts with horror, leans into dark comedy, and even toys with melodrama, but it’s always grounded in something very real. It’s about that uniquely millennial/Gen Z feeling of almost-relationships, of being just committed enough to feel the sting, but not enough to have clarity. It’s about the chaos that ensues when people stop communicating but still crave connection. And yes, it’s about how frustrating and funny and heartbreaking love can be when we expect it to look a certain way.
In the end, ‘Oh, Hi!’ isn’t about whether Isaac changes his mind or whether Iris gets her happy ending. It’s about recognizing what you actually need from a relationship, and the courage it takes to ask for it. It’s about being seen, heard, and valued. And it’s about how sometimes, the most romantic thing in the world isn’t a grand gesture, but an honest conversation.
Sophie Brooks
Writers: Sophie Brooks & Molly Gordon
Cinematographer Conor Murphy
Featuring: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds
By Elizabeth Gelber
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Elizabeth Gelber is an aspiring film and television producer and writer with a love for all things media, from music to fashion to entertainment. With a background in Television, Radio, and Film, as well as Fashion Communications, she is passionate about telling female-led stories that empower and resonate. Her work blends wit with empathy, aiming to humanize entertainment through an authentic lens. She believes the most powerful narratives are often rooted in everyday life, and she is drawn to creating media that reflects the world as it truly is, diverse, imperfect, and meaningful.
Elizabeth Gelber is an aspiring film and television producer and writer with a love for all things media, from music to fashion to entertainment. With a background in Television, Radio, and Film, as well as Fashion Communications, she is passionate about telling female-led stories that empower and resonate. Her work blends wit with empathy, aiming to humanize entertainment through an authentic lens. She believes the most powerful narratives are often rooted in everyday life, and she is drawn to creating media that reflects the world as it truly is, diverse, imperfect, and meaningful.
