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| The World Before Photo: Toronto International Film Festival |
In filmmaker Yoon Dan-bi's second feature, the summer set coming-of-age The World Before, all teenager Jin (Sim Su-bin) has ever known is the remote and rural island she calls home. Out of the blue, her childhood friend Dujae (Kim Eo Jin) returns for his grandmother's funeral. Attracted to Dujae, she finds reasons to spend time with him, desite the awkwardness of their interactions. Unfortunately, her affection will be unrequited, creating a shift in how she perceives herself and the island.
Speaking with Eye For Film, Yoon Dan-bi discussed the making of The World Before, its relationship to her first feature, Moving On (Nam-mae-wui yeo-reum-bam), about two children whose lives change when they move in with their grandfather, and the necessity of emphasising the natural sounds of the island.
Mallory Outis: What motivates you as a filmmaker?
Yoon Dan-bi: I would compare filmmaking to sculpting because, in order to make a film, rather than adding things, I am chiseling away those things that are not needed to find the essence of what the original form is that I'm looking for. The defining moment [that made me want to be a filmmaker] was when I first saw a film by Yasujirō Ozu. It was the moment that really gave me the epiphany that somebody's ordinary life could be turned into a film, and maybe my own story could one day be made into a film. I even thought that outside of it being a film, maybe life is just too long, boring, and meaningless.
MO: Do you fill your films with the personal?
YDB: Although this film and my previous film are not autobiographical, a lot of the feelings I experienced growing up, such as the conversations I had with my mother, are projected in the film. And many of the faces I saw growing up are inevitably in my films. My parents ran a fruit shop when I was little — they still do. So, growing up, I'd see the faces of all the customers coming into the shop, and these everyday people inevitably make an appearance in my film.
MO: The World Before feels like it is constructed out of moments that will be familiar to an international audience.
YDB: The film is quite classical in a good way. And although the story is universal, I wanted to look at it from a different perspective. Love itself is a huge theme, and it could have been portrayed beautifully through a very pretty view or dramatic event. Whether it's a film or a series, I always feel that the moments that are edited out to build these very pretty moments or dramatic events are close to the essence of things. I feel bad about these small moments being cut and so, I really wanted to put them together for a film. And that was my approach to the theme when making this film.
Also, I don't believe it's a good approach to tell the whole story through dialogue. So, I ended up making The World Before in a specific way that at least worked for this film.
MO: As well as a lack of dialogue in certain scenes, you choose not to rely on music.
YDB: The way I was approaching the music, I wanted it to play an auxiliary role, even a supporting role for the diegetic sound which plays a big part in this film. The natural elements of the island really represent the two protagonists' feelings and emotions.
One of the first images I had when I was planning this film was of this boy and girl sitting on top of a very rough cliff on the island. So, the wind, the waving branches, or the changing of light, all these natural elements play such a crucial role in representing their emotions. And I didn't want the music to get in the way.
The World Before screened at TIFF 2026.
