It's that moment before a kiss.
God, that was ambitious but Lee Chang-dong managed to pull it off. Giving us glimpse on how corrupt the two elder brothers of the protagonists are in the middle, then later on placing them together was a clever move. I strongly believe that Chang-dong meant Oasis to be an ode for the things that won't work (for now).
I think the most crucial part of making a believable coming-of-age or a family-centered story is you must convince the audience that they are one with the protagonist, leading them to introspection—which Thop Nazareno is really good at. The cadence of Thop's direction is outstanding since there's a consistency that will keep you hooked from the beginning until the end. He knows how to bring complexity to his story without going overboard.
Choosing this concept for this film is a…
I'm sorry I didn't say goodbye. I'm sorry for never getting in touch with you. I'm sorry I never asked about your life. I'm sorry I'm like this. I'm sorry for never saying sorry.
I see a lot of my past self in Jean, it's uncanny and at the same time heartbreaking that I was reminded of the things that I can't let go until now.