‘Bedford Park’ review: Slow-burn, hopeful tale set in New Jersey’s Korean-American community

Dir/scr: Stephanie Ahn. US. 2026. 121mins

Broken lives find a way to mend in Bedford Park, Stephanie Ahn’s tender debut feature which charts the bond between two lost souls striving to overcome family trauma. A tentative connection warms to something deeper in a poignant, slow-burn tale of hope and healing. The echoes of Past Lives can only enhance the arthouse potential of a film that should appeal to grown-up romantics following its premiere in Sundance’s US dramatic competition.

The chemistry between Choi and Sukku carries the film

It is clear from the opening frames that something has to change for thirtysomething Korean-American physiotherapist Audrey (Moon Choi). Frustrated at work, she shows a reckless disregard for her health and safety in her private life. After an uncharacteristic moment of defiance leaves her suspended from her job, she reluctantly heads home to tend to her mother In (Kim Eung Soo) who has suffered minor injuries in a car crash.

Audrey’s return is like stepping back in time, to the same bedroom and the same family tensions. Flashbacks reveal some of the racial abuse and physical suffering that marked her childhood. Her father Hey (Won Mi Kyung) remains a drunken, domineering figure filled with shame. Her mother is intent on maintaining the peace and keeping up appearances, casually exaggerating the professional achievements of Audrey and her brother Henry (Aaron Yoo). The pressure to match the expectations of family and culture is a constant burden on both generations.

When Audrey is ordered to make contact with the blameless driver involved in her mother’s accident, she meets Eli ( Son Sukku), a handsome Korean-American former wrestler now working as a shopping mall security guard. Eli is also attempting to escape his past with a fresh start in New Jersey.

Both characters are presented as carrying a hefty amount of baggage – perhaps a little too much in what proves to be a fairly densely-plotted tale. The film finds its groove once Audrey and Eli move beyond an initial antagonism to find common ground and understanding. Cinematographer David McFarland paints their world in drab colours, occasionally brightened by beautiful views of Brooklyn and a distant Manhattan. Eli’s cramped apartment and the sense of confinement in Audrey’s family home give a sense of people feeling trapped by their circumstances. Audrey’s attempts to rekindle her passion for photography and the frequent use of mirrors and reflections hint at the different lives that the couple might have led.

Bedford Park is a little obvious at times and has story elements that feel underdeveloped, especially the presence of Eli’s step brother Jay (Jefferson White) and his crazed attempts to return to the family fold. Ahn balances that with clever connections and developments that make the story fresher. Over time, the tone grows warmer and the bond between Audrey and Eli feels earned and authentic. Ahn shows a generous spirit towards her characters, revealing the sacrifices that Audrey’s parents made for their new life in America and the way in which unhappiness passes between the generations. There is frequent talk of ‘han’, a Korean term signifying deep-rooted sorrow, resentment and helplessness.

Ahn builds her story through moments of reckoning and reconciliation. The central couple achieve a comfort that allows them to be vulnerable with each other, and the chemistry between Choi and Sukku carries the film. Choi invests the once people-pleasing Audrey with a subtle, growing sense that she deserves a better life, while Sukku portrays a touching combination of physical strength and emotional frailty. They are the heart of a  engaging film that confirms  Ahn as a filmmaker of promise.