Taylor Shung

Taylor Shung’s filmography reads like a highlight reel of indie cinema’s last few years, honestly. Let’s start with “Past Lives” (2023), which is one of those movies that just hits you right in the chest. It’s all about love, fate, and all the messy in-betweens—two childhood friends from South Korea cross paths again years later, but, man, life’s not a rom-com, and the timing’s never quite right. The film just kind of lingers in your head, you know? All those “what ifs” and missed chances. It doesn’t spoon-feed you answers, and that’s part of the magic. Then there’s “I Saw the TV Glow” (2024), which is… wild, honestly. Think late-night cable fever dream mashed up with coming-of-age weirdness. The movie takes you back to the nineties, dripping with neon nostalgia, but it’s not just style over substance. It dives deep into loneliness and obsession, and the way pop culture seeps into your bones when you’re a kid. It gets under your skin, in a good way, or maybe a slightly unsettling way. Hard to put your finger on it, but it leaves a mark. And you can’t talk about Taylor Shung without mentioning “Nomadland” (2020). That one scooped up awards left and right, and for good reason. It’s quiet but powerful, following Fern as she drifts through the American West in her van, meeting a patchwork of real folks living on the fringe. There’s this raw beauty in the emptiness, and the film never tries too hard. It just lets you sit with the characters, and somehow, that’s enough.