The best scene of Columbus is serene, yet dripping with emotion. It’s deeply passionate, a small slice of life that speaks volumes even though it’s as quiet as can be. I won’t give too much away here, but what sparks it is a question from one character to another about a building they’re standing in front of. It has to do with meaning, with personal connection, with finding something amidst the complicated assembling of inanimate objects. It has to do with your engagement with the world around you, and the value within that process is something that Kogonada certainly understands and connects to. That’s one of the more profound ideas that the film expresses, and it’s done so in a visually lyrical manner. Kogonada makes his human characters living, breathing elements of the architecture in the background, utilizing symmetry from both visual and character-based standpoints as Jin and Casey (Cho and Richardson, the latter of which is particularly incredible) wander through their environment.
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