Film
A Brand New Life
A Brand New Life is a quietly devastating South Korean film about a girl left at an orphanage who must learn to survive abandonment and institutional life. It's observational rather than melodramatic, finding both cruelty and unexpected kindness in everyday moments. For anyone moved by intimate stories about resilience and the cost of growing up too fast.
If you liked this
Beasts of the Southern Wild2012
A girl navigates poverty, loss, and an indifferent world with fierce imagination. Like A Brand New Life, it finds beauty and defiance in desperate circumstances without flinching from the damage.
But The magical realism and dialect-heavy dialogue may feel distancing if you prefer straightforward emotional realism.

The Florida Project2017
Children living in poverty on the margins of prosperity, seen with tenderness and clarity. Both films trust their young actors completely and refuse to sentimentalise hardship.
But Its scattered, episodic structure means there's no traditional plot to grip you—it's about texture and observation.

Moonlight2016
A boy developing in isolation, moving between harsh and nurturing environments. Like this film, it uses quietness and visual restraint to convey emotional devastation without explaining it.
But It's deliberately paced and elliptical; some viewers find the lack of exposition frustrating rather than poetic.

Not sure tonight? Get a pick in a minute, starting from A Brand New Life
The wildcard
Something you would not have found on your own.
The Handmaiden2016
Same director (Lee Jae-kyoo) and both unflinching about how the powerless survive; one quiet and observational, one a game of deception and desire.
Park Chan-wook's baroque revenge thriller set in colonial Korea, about two women using each other. Both are South Korean films about girls and women navigating impossible power dynamics, but where A Brand New Life is still water, this is pure electricity.
But It's sexually explicit, plot-heavy, and designed to dazzle—the opposite of understated realism in every possible way.

More like this (7)
Chungking Express1994
Two lonely people searching for connection in an indifferent city. Wong Kar-wai's visual style is utterly different, but both films have that same ache of isolation and the small mercies that sustain us.
But It's much more stylised and dreamlike; if you want realism, this dreamy romanticism might feel false.

Capernaum2018
A child's survival in the streets of Beirut, shot with documentary immediacy. Like A Brand New Life, it refuses to look away from what institutional neglect does to the young.
But It's genuinely harrowing and takes real-world cruelty seriously—not a film that offers comfort or easy resolution.

Boyhood2014
A boy growing up over twelve years, shaped by instability and the small moments that define us. Both films trust time and observation to build their emotional weight rather than plot mechanics.
But At nearly three hours and entirely plotless, it requires patience and acceptance that not much will happen in the traditional sense.

The Farewell2019
A young woman caught between cultures and family obligation. Lulu Wang brings the same eye for how people actually move and speak, and how love and pain coexist quietly.
But It's a comedy-drama that refuses to be one or the other consistently—tonal whiplash if you want emotional clarity.

Shoplifters2018
A family held together by theft and makeshift care. Kore-eda explores how love takes unconventional shapes when official systems fail, much like this film's orphanage.
But Its gentle tone can seem evasive about the genuine crimes at its centre—some find it too forgiving of the morally compromised.

Eighth Grade2018
Both follow a girl through a formative year with minimal plot, using performance and everyday life to document the price of being young and vulnerable.
A thirteen-year-old girl navigating social fragility and her anxious father. Bo Burnham shoots American adolescence with documentary precision, finding the same small humiliations and rare moments of grace.
But It's deeply uncomfortable to watch—the social anxiety is relentless and there are genuine cringe moments that make it hard viewing.

A Pigeon Sat on a Branch Reflecting on Existence2014
Both use stillness and observation to examine how systems fail the vulnerable, but Andersson pulls back to see human folly as cosmic and slightly ridiculous rather than heartbreaking.
Roy Andersson's deadpan Swedish film observes human pain and connection through tableau-like scenes of casual tragedy. It's as much about institutional indifference and loneliness as A Brand New Life, but filtered through absurdist humour and painterly composition.
But It's extremely slow, visually locked-down, and the humour is so dry it may read as cold rather than moving—not a film that wants to make you cry.

People
Cast
Kim Sae-ronJin-hee- Park Do-yeonSook-hee
Ko AsungYe-shin
Park Myung-shinChildminder
Sul Kyung-guJin-hee's Father
Moon Sung-keunDoctor
Oh Man-seokDirector Koo
Baek Hyun-jooSister Lim- Jung Ye-jinSister Park
Koh In-baePriest- Shin Young-sikYe-shin's Foster Father
- Shin Jae-youngYe-shin's Foster Mother
Directing
- Lee Jong-unAssistant Director
- Ounie LecomteDirector
- Cho Yong-jinFirst Assistant Director
Writing
- Lee Chang-dongWriter
- Lee Jung-hwaWriter
- Ounie LecomteWriter
Production
- Jeemin ParkAssistant Production Manager
- Kim Yeong-donCo-Executive Producer
- Suh Young-jooCo-Executive Producer
- Park Hyun-taeExecutive Producer
- Laurent LavoléProducer
- Lee Chang-dongProducer
- Lee Dong-haProducer
- Lee Joon-dongProducer
- Fatim-Zohra EssouciProduction Assistant
- Cécile LaiProduction Manager