Teenage love and desire are complex, and they often feel like a strangely taboo subject within film and television. The Monogatari series engages directly with this terrain; however, its anime adaptations are frequently criticised for their use of fan service, which many viewers find off‑putting despite its thematic and narrative relevance. The World Before similarly explores teenage love over a single summer, embracing the authenticity of youthful desire. As emotions evolve and lead to more mature acts, the film becomes both impactful and imperfect, willing to confront the messiness of teenage love even when some moments fall flat.

Jin (Sim Su‑bin) is a teenage girl living on a small island in Korea. After an elderly acquaintance passes away, she reconnects with her childhood friend Du-jae (Kim Eo‑jin), who has been living in Seoul and returns home to attend his grandmother’s funeral. With Du-jae staying on the island for an uncertain length of time, we watch Jin grow closer to him, her feelings shifting from simple friendship into something more complicated as she begins to experience love, desire, and even jealousy.

Every emotional moment is captured in incredible wide shots that feel like real life, making Jin one of the most relatable characters I’ve seen in a drama recently. For many of us, growing up meant trying to win over that one crush, making sure that no matter the situation, we looked good for them. As the film progresses, we see Jin develop a deep sexual desire for Du-jae, yet there is little indication that he feels the same. Early in the story, we hear an excerpt from the grandmother’s diary, in which she reflects that throughout all her years, she rarely heard her husband say ‘I love you.’

Part of you wonders whether this will play out simply as a man struggling to communicate their emotions, unable to express how they truly feel, or whether Du-jae’s silence is simply a form of rejection. By not acknowledging Jin’s feelings, it’s as if he believes that leaving quietly will be less painful than turning her down outright. Rejection is one of the hardest parts of teenage love; you’re so young and inexperienced that the rush of emotions when the person you care for doesn’t feel the same can overwhelm every sense. We experience all of this through Jin’s eyes, which makes her a believable, resonant character.

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Their relationship isn’t defined solely by negativity in the early stages; the natural highs of distant friends reconnecting are genuinely charming. From their attempt to ride a bike together, eventually resorting to the rear rack as a makeshift seat, to their trip to the beach, these moments are irresistibly sweet, and the chemistry between the characters feels effortless. Su‑bin and Eo‑jin are exceptional as Jin and Du‑jae, respectively, bringing a grounded authenticity to their performances that makes the relationship feel vividly real.

For Yoon Dan‑bi’s second narrative feature, there is a boldness in both the writing and direction that feels increasingly rare in modern cinema. As mentioned, the subject matter itself is treated as strangely taboo, as though humans only begin to experience love and its complex emotional terrain once they turn eighteen. Dan‑bi shows instead that these feelings are essential to growing up. However, the film loses much of its impact in the final minutes. Just as it reaches its emotional crescendo, it abruptly flashes back, resulting in an ending that lands with an unexpected whimper rather than the resonance it seems to be building toward.

Despite this, The World Before is far more than a simple teenage romance. It is a mature, emotionally layered coming‑of‑age drama that captures the aching beauty of adolescent love with striking authenticity. The film’s depictions are meaningful and resonant, and although I wish its ending delivered a true gut punch, what Yoon Dan‑bi presents remains undeniably powerful.

Had its World Premiere at the 2026 Toronto International Film Festival / Sim Su‑bin, Kim Eo‑jin / Dir: Yoon Dan‑bi

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