Fast & Glorious: With F1, Brad Pitt keeps fans’ hearts racing while reigniting his thrill for the ride

Brad Pitt has long been Hollywood’s golden boy – equal parts heartthrob, chameleon and cinematic daredevil. But in 2025, he’s not just basking in legacy; he’s redefining it. With F1: The Movie, which sped into cinemas earlier this summer, Pitt trades red carpets for racetracks as a washed-up Formula One driver clawing his way back into the sport. It’s a role that demands grit, vulnerability and velocity – and the actor delivers all three with the kind of swagger only he can summon.

Directed by Joseph Kosinski (Top Gun: Maverick), F1 is a high-octane sports drama that’s part redemption arc, part adrenaline rush. Pitt’s character, Sonny Hayes, is a former racing prodigy whose career was derailed by a catastrophic crash in the 1990s. Decades later, he’s lured back into the cockpit to help save a struggling team from collapse. The film is packed with real-life Grand Prix footage, cameos from actual Formula One drivers, and a soundtrack that pulses with Hans Zimmer’s signature intensity.

But it’s Pitt’s performance that anchors the spectacle. He’s not just playing a racer, he’s embodying a man haunted by past glory, driven by unfinished business, and learning to trust again. Whether he’s trading barbs with his rookie teammate (played by Snowfall’s Damson Idris) or locking eyes with Kerry Condon’s steely technical director, Pitt brings a weathered charisma that’s impossible to ignore.

Drive for Realism

What makes F1 more than just another sports flick is its authenticity. Filmed during actual Grand Prix weekends across 2023 and 2024, the movie features real tracks, real teams and real tension. Pitt didn’t just act, he trained. With guidance from Mercedes AMG and Lewis Hamilton (who also co-produced the film), the actor drove modified Formula Two cars designed to mimic Formula One machines.

The production team went all in, converting six Formula Two cars into camera-ready racers with 15 built-in mounts. The result? Racing sequences that feel visceral, cinematic, and surprisingly grounded. Kosinski’s direction leans into realism, capturing the chaos of pit stops, the precision of overtakes, and the emotional stakes of every lap.

“It’s undeniable [that we are driving the cars]; we’re not sitting on a sound stage with wind machines,” says F1’s star, hailing the filming as “one of the most extraordinary experiences I’ve had”. He enthuses: “I’ve been trying to get a racing movie done for 20 years. I’ve tried bikes, I’ve tried cars, I’ve tried different disciplines, and for whatever reason, they never came to fruition. [We wanted] to make the most realistic racing movie we’ve seen to date, and I think that’s what we’ve done.”

Pitt Never Stops

For the actor, F1 isn’t just another notch on his filmography; it’s a statement. At 61, Pitt’s proving that reinvention isn’t reserved for newcomers. His career has spanned decades and multiple award nominations, from the film that got him noticed, Thelma & Louise (1991), to Fight Club (1999), Inglourious Basterds (2009) and Once Upon a Time in Hollywood (2019), which secure d his best-supporting-actor Oscar win. He’s played assassins, astronauts and ageing stuntmen, but F1 taps into something deeper: the idea that greatness isn’t static; it evolves.

Sonny Hayes is a man out of time, trying to adapt to a sport that’s left him behind. Pitt, too, is navigating a Hollywood landscape that’s increasingly obsessed with youth and novelty. Yet he remains relevant – not by chasing trends, but by choosing roles that challenge him. F1 is a metaphor for that journey: a comeback story that mirrors Pitt’s own refusal to coast.

He says: “Man, I’ve been doing this for a while and was wondering: Do I have more stories to tell? Do I have anything to add to this? Is there still any excitement I can find from this? [This film] just reinvigorated the whole thing again for me.”

He plays Sonny with a quiet ache, a man who’s lost more than he lets on and who’s terrified of losing again. This emotional depth is what elevates F1 beyond the genre. It’s not just about speed, it’s about healing. Pitt’s ability to toggle between bravado and brokenness is what makes Sonny believable. He’s not invincible; he’s human. And that humanity is what keeps audiences invested.

Life Beyond the Limelight

Brad Pitt’s star power is undeniable, but it’s his versatility that keeps him interesting. He’s not afraid to get messy, to play flawed characters, to let the audience see the cracks. In F1, he’s not the fastest or the flashiest, but he’s the most determined – and that determination resonates.

Off-screen, Pitt has embraced a quieter life of late, especially after his high-profile separation from Angelina Jolie in 2016. He’s focused on producing through his company, Plan B Entertainment, which he and his first wife, Jennifer Aniston, co-founded back in 2001. 12 Years a Slave (2013), which earned him a producer’s Academy Award for Best Picture; The Big Short (2015); and Moonlight (2016) number among the critically acclaimed films he has backed.

He’s also delved into architecture – in an interview in 2008, he called acting his career and architecture his passion – exhibited his sculptures, and poured his heart into winemaking – the celebrated rosé of Château Miraval. Romantically, he appears at peace with jewellery executive Ines de Ramon. But when he returns to acting, it’s with purpose.

F1 is already being hailed as one of the year’s biggest blockbusters, grossing more than US$395 million worldwide. Critics have praised its visuals, its pacing, and Pitt’s performance. Some Formula One purists have nitpicked the racing accuracy, but most agree that it’s a thrilling ride. And for Pitt, it’s another feather in a cap that’s already overflowing.

Lap of Fame

His portrayal of Sonny Hayes may not win him another Oscar, but it cements his status as an actor who still has something to say. He’s not cruising by on charm; he’s pushing boundaries. A 30-year superstar of the silver screen, Pitt could have played it safe and leaned into nostalgia. Instead, he chose to race forward, literally and figuratively. And in a landscape where many stars fade, he continues to shine.

“You get to my age and see how important it is to surround yourself with the people you know, the people you love, the people that love you back,” he says. “Friends, family and that’s it. From there, we get to go make things. It’s a pretty simple … equation.”

As Sonny Hayes crosses the finish line – spoiler alert – victorious and vindicated, it’s hard not to see Pitt in the same light. He’s a man who’s weathered storms, embraced change and come out stronger. And in F1, he’s not just acting – he’s accelerating.

All About Pugh: From Lady Macbeth to the Black Widow, Florence Pugh brings charisma to a marvellously varied cast of characters

Florence Pugh is one of the most compelling and dynamic actors of her generation. Her performances are powerful, nuanced and filled with a depth that keeps audiences captivated. Since her breakout role in Lady Macbeth almost a decade ago, the 29-year-old from Oxford, England, has established herself as one of Hollywood’s most exciting and versatile talents, appearing in acclaimed dramas, horror films, indie projects and blockbuster franchises. From her emotionally intense roles to her charismatic presence on- and off-screen, she is impossible to overlook.

Born on 3 January 1996, Florence Rose Pugh was raised in a creative household alongside her artistic sisters and brother, the actor and musician Toby Sebastian. Her father, Clinton Pugh, was a successful restaurateur; her mother, Deborah Mackin, had trained as a ballerina and taught aerobics and dance. Her upbringing encouraged self-expression, which later became an essential part of her identity as an actress.

A sickly child, Florence was diagnosed with tracheomalacia, a condition causing respiratory difficulties. Hoping the warmer climate would improve her health, the family temporarily relocated to Spain. Though they soon returned to Oxford, this experience shaped her early years and her resilience.

She began exploring acting in school plays and developed a fascination with emotional storytelling. Yet when posting cover versions of popular songs on YouTube under the name Flossie Rose, she first imagined her breakthrough would come as a singer. It’s an ambition that she still harbours. “I intend to release music. It’s something I’ve been so conscious of ever since my acting career [took off] … I do miss it,” she says.

Rise from Falling

Pugh was encouraged by her mother to audition for a key role in British filmmaker Carol Morley’s 2014 The Falling, apsychological dramaset in an English boarding school. She got the part, and as an unknown shared co-star billing with Maisie Williams of Game of Thrones fame. Her performance was widely praised for its subtle complexity.

Her remarkable natural talent compensated for a lack of acting training. She recalls: “Every single job at the beginning of my career, [I was] working with unbelievable actors and directors. I was constantly learning.”

After a failed pilot show for US television, it was Lady Macbeth (2016) that really got Pugh noticed, showcasing her ability to embody complicated, morally ambiguous characters. Playing a young woman forced into an oppressive marriage in bleak northeast England circa 1865, she commanded the screen with her fierce presence. The film received critical acclaim, and her performance earned her several nominations and awards.

The role involved nudity, which the teenager handled with maturity beyond her years. “I wasn’t nervous about taking my clothes off, but I thought, ‘If this is done well, it will be a really powerful and horrible way to set up the rest of the story’,” she has said. “I remember thinking, ‘If I do this right, if the shot is right, this film should be amazing.’”

After Lady Macbeth, Pugh continued to take on diverse roles. In 2018, she starred in The Little Drummer Girl, a BBC miniseries based on John le Carré’s novel. That same year, she appeared in King Lear alongside Anthony Hopkins and Emma Thompson, further cementing her place in British cinema.

Year of Acting Famously

However, 2019 was the year that catapulted her into global stardom. She appeared in three vastly different films, each highlighting her extraordinary range. In the biographical sports comedy. Fighting with My Family, she demonstrated comedic timing, emotional depth and commitment to physical training, as she had to embody the complexities of a young professional wrestler’s life.

Ari Aster’s folk horror film Midsommar saw her take on the role of a grieving woman caught in a terrifying Swedish cult. Her performance was hauntingly raw, with many critics praising her ability to express grief, vulnerability and psychological distress with chilling realism.

Greta Gerwig’s adaptation of Little Women introduced a new side of Pugh as she portrayed the ambitious and complicated Amy March. Her performance earned her an Academy Award nomination for Best Supporting Actress, a testament to her ability to transform classic characters into fresh and compelling figures.

Speaking of the era in which both Lady Macbeth and Little Women are set, she comments: “Something I love about the 1800s … is that there were obviously always powerful women and strong-minded, opinionated women, but they were dealing with a completely different set of cards. A set of cards that were against them.”

Marvels Never Cease

With her growing success, Pugh was cast as Yelena Belova opposite Scarlett Johansson in Black Widow (2021), the film that introduced her to the Marvel Cinematic Universe (MCU). Her portrayal of the witty, resilient assassin was widely praised, leading to her return in Hawkeye, a Disney+ series, that same year.

Pugh’s involvement in the MCU continued this spring with Thunderbolts*, where her character becomes part of a team of antiheroes. The film has been hailed as the best Marvel outing in years, with its lead earning plaudits for her charisma. The adventure continues next year with Avengers: Doomsday.

Beyond Marvel, Pugh has tackled a variety of ambitious projects. She appeared in Christopher Nolan’s Oppenheimer (2023), playing Jean Tatlock, a pivotal figure in the story of the atomic bomb, and joined the glitzy cast for Dune: Part Two (2024). Last year’s romantic drama We Live in Time, alongside Andrew Garfield, was also a success.

Personal Passions

Off-screen, Pugh has gained admiration for her authenticity and approachability. She has been outspoken about body positivity, rejecting Hollywood’s unrealistic beauty standards and embracing natural representation. Her candid discussions on social media about self-confidence and the challenges of fame have made her a role model for many young actors and fans.

Her relationship with actor-director Zach Braff, which ended in 2022, drew public interest, and she is now reported to be dating fellow 29-year-old British actor Finn Cole, but Pugh has consistently advocated for privacy in her personal life. Rather than allowing media scrutiny to dictate her narrative, she remains grounded, focusing on her career and passions.

Florence Pugh represents a generation of performers who prioritise raw emotion, authenticity and versatility. She has refused to be confined to any single genre, and with each project, her presence in the film industry continues to expand. Whether delivering heart-wrenching performances in psychological dramas or bringing fierce energy to action-packed blockbusters, she is a force to be reckoned with.

Avatar Hurrah: From sci-fi to Emilia Pérez to Lioness, Zoe Saldaña embraces each role with a roar of cultural pride

With a gripping personal narrative and a career that continually elevates her to unfathomable heights, Zoe Saldaña is a voice for those who dare to dream beyond limitations. Having swept the awards board with her Best Supporting Actress spin in Emilia Pérez, she is set for an Avatar return by year’s end, and her remarkable journey from loss to triumph is a testament to the power of the human spirit.

Born in New Jersey to a Dominican father and a Puerto Rican-Dominican mother, Saldaña quickly assimilated the notions of passion and tenacity. Her secure childhood in a community steeped in dual cultural identities was shattered at age nine by the loss of her father in a car accident. The family was thrust into tumultuous times, with Zoe and her two sisters, Cisely and Mariel, shifting to live with relatives in the Dominican Republic in a search of stability.

She would return to the US in her teens to finish her education in Queens, New York and find her calling in acting. “I learned in a very innocent, unconscious way when I was very young that I need to live in art because I find peace,” reflects the 46-year-old star.

Unbreakable Bonds

Throughout interviews, Saldaña expresses that this early adversity shaped her understanding of strength and love. “When my father passed away, we all went straight into survival mode,” she says, revealing how such formative experiences helped her cultivate bonds with her sisters. “You can’t expect them to have the same capacity and to understand what you’re going through.”

This connection ignited a passion for dance, which offered her solace. She trained in ballet, a discipline that requires not only skill but also a remarkable level of focus, something she struggled to maintain. She eventually quit due to doubts about her own capabilities: “I did not have the feet, but I had too much pride.” While she turned to the theatre, dance would remain a crucial element of her career; she broke into movies playing a dancer in Center Stage (2000) and ultimately found expression in roles that required her to merge her artistic talents with her powerful storytelling abilities.

Saldaña’s first on-screen role, at age 22, in the long-running TV show Law & Order (1999) laid the groundwork for a career characterised by remarkable versatility. While critics often deride the juvenile antics of films from the early 2000s, she regards these experiences as stepping stones to her illustrious career. “I have been pushed and pulled in a shocking number of directions, and I’m grateful for every single one,” she affirms, facing the challenges of Hollywood with grace.

Cosmic Force

As Saldaña’s popularity soared, she transitioned into blockbuster territory with key roles in the Star Trek reboot and Avatar, films that would solidify her place among the highest-grossing actresses of all time. Arguably, her industry inflection came from portraying powerful women in sci-fi films. As communications officer Uhura in Star Trek and warrior Neytiri in Avatar, she exemplified strength, intelligence and vulnerability.

“I like the fact that there’s more than one female in an action movie,” she shares, advocating for inclusivity within her roles. At a time when many women found themselves pigeonholed, she navigated through uncharted space, delivering memorable performances that would transcend the screen.

Portraying Gamora in the Guardians of the Galaxy franchise further established Saldaña as a leading female figure in Hollywood. The complex nature of her character – an assassin turned protector – mirrored her own journey toward empowerment, emphasising that feminism comes in myriad voices. “There is a certain freedom of the imagination in science fiction,” she asserts. “You have to project yourself into a world that you’re unfamiliar with.” Her ability to bring this voice to life ignited conversations about representation in media and inspired countless fans.

Claiming Her Identity

While the spotlight has been a constant companion, Saldaña has carefully curated a personal life filled with integrity. She married Italian artist Marco Perego in 2013 after a whirlwind romance and raises three boys in a trilingual household. The actress is intriguing not only for her roles but also for her candidness regarding her own struggles, including with the autoimmune disease Hashimoto’s thyroiditis. In an age where perfectionism reigns supreme, her humility is refreshing.

At the core of her narrative lies the desire to connect and inspire through her art. “My life has always been saved, over and over again, by people who have taken me in, by guiding me, raising me, and educating me,” muses the mother of three, attributing her success not just to hard work, but to the rich support network of family, friends and mentors. This gives depth to her actions and dignity to her voice, especially as she champions causes close to her heart, like diversity in media.

Vision for the Future

Her Academy Award-winning role in Emilia Pérez centres on camaraderie and the complexity of human connection. As the main thread propelling a story steeped in themes of empowerment and social commentary, Saldaña sheds layers as a performer, demonstrating her ability to redefine herself throughout her career. “For Emilia, every scene felt like reconnecting with parts of me throughout my life where I felt that kind of desperation,” she shares, emphasising the emotional weight of her work.

Her evolving roles signal a shift from merely occupying space in Hollywood to creating it. Avatar: Fire and Ash’s scheduled December release and her participation in prolific American TV creator Taylor Sheridan’s Lioness further display her commitment to exploring neglected narratives within the female experience. As she looks forward to new challenges, Saldaña appears more than ever equipped to navigate the highs and lows of showbiz without losing her essence. “What if I just f**king go all in?” she readily contemplates, a mantra of sorts that underlines her fearless approach to life.

Against the backdrop of a dazzling industry, Zoe Saldaña emerges as a multi-faceted force who wields her creativity to empower others. Embracing her Latino heritage, challenging the status quo, and redefining the notion of femininity in her work, she sets the stage for a brighter future – one where women no longer just break barriers, but dismantle them entirely.

Set in Stone: Double Oscar winner Emma Stone’s bold acting choices have enriched our viewing experience

Emma Stone has been a favourite in Hollywood for more than 10 years, enthralling with her girl-next-door charm, comedic timing and amazing range. Her audacious approach to the lead in Poor Things, the Frankenstein-like tale of a Victorian-era woman who commits suicide and is resurrected with the brain of her unborn child, paid off. It earned her a second Academy Award for Best Actress, placing her on par with film industry icons such as Meryl Streep, Jodie Foster and Elizabeth Taylor.

“It’s not about me. It’s about a team that came together to make something greater than the sum of its parts,” she declared as she accepted the statuette. “And that is the best part about making movies, it’s all of us together.”

It was a deserved win, with Stone dominating the Yorgos Lanthimos film as the unconventional Bella Baxter, who embarks on a daring and liberating voyage of self-discovery. “Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently,” she noted at the Golden Globes ceremony in January.

Once upon a tone

Emily Jean Stone was born in Scottsdale, Arizona on 6 November 1988 and began acting at an early age, participating in youth theatre. She was home-schooled for a spell and then dropped out before finishing high school, moving to Los Angeles in order to follow her passion. Her breakthrough performance was in the teen comedy, Superbad, in 2007, where her natural humour and likeability were evident. Parts in movies such as Easy A (2010), The Help and Crazy, Stupid, Love (both in 2011) solidified her position as a rising star.

Stone’s first Oscar came in 2017 for her turn as struggling actress Mia in the dreamy musical romance La La Land, Damien Chazelle’s ode to Hollywood’s Golden Age. The dazzling musical showcased her versatility as both a powerhouse singer and a nuanced dramatic performer.

“My mom would play Les Misérables in our house when I was growing up,” she recalls. “She told me the story and then I saw it on stage when I was eight, and it was transformative for me. I loved it. After that, singing became a medium of expressing feelings that was so much bigger than just saying it.”

As she reiterates in many interviews, however, dancing used to be her favourite art form. She took dance lessons for 10 years, mostly tap classes, but was not as technically proficient as other budding young dancers. She eventually realised that acting spoke to her in a different way.

“I think I connected with acting I was more able to bring to life what I wanted to,” she says. “Performing helped me as a kid to channel my energy somewhere else, to put it out instead of turning it inward. Acting is therapy, especially as a kid. It was nice to have an outlet like that when I was really struggling with panic attacks. Being on stage early on made me less afraid to try things that are challenging and scary.”

Odd is good

With Stone’s glittering ascent showing no signs of slowing, she likes to express her opinion on odd topics as many people do, proving that being a superstar does not make one ‘special’.

“When I was younger, I had a soft spot for anything spooky and I would go to visit cemeteries,” she shares. “I’m still interested in that stuff, but not in a negative way. Once you understand that your time is limited, you live with a lot more awareness. Why should I worry about everything else? The actual reality is death. And I think there’s something strangely comforting about that.”

Her real life is as colourful as her reel life. Having previously dated actors Kieran Culkin and Andrew Garfield, she tied the knot with writer-director Dave McCary in 2020, and the couple welcomed daughter Louise Jean in 2021. They live in Austin, Texas, where she can go out, see friends and lead a normal life, or at least, a more normal life than she would have in Hollywood. She and Jennifer Lawrence are close: “We go on trips together, we hang out at each other’s houses in New York and watch [fantasy comedy film] Hocus Pocus.”

Although Stone is known as a redhead, her natural hair colour is blonde. She dyed it red on the advice of Superbad director Judd Apatow and the colour has remained almost ever since.

Ready, set, go!

Off the sound stage, she served as producer on Poor Things and executive producer of the 2023 black comedy-horror TV series The Curse, in which she stars alongside creator-writers Nathan Fielder and Benny Safdie. Through their production company, Fruit Tree, Stone and McCary also guided the comedy film A Real Pain to life; written, directed and starring Jesse Eisenberg, it premiered at the Sundance Film Festival in January. Numbering among Fruit Tree’s credits as well is Problemista (2023), the brainchild of writer and comedian Julio Torres, who created two of Stone’s best-ever Saturday Night Live skits, Wells for Boys and The Actress.

Stone’s talent and diverse roles have earned her a substantial fortune, with her current net worth reportedly estimated at about US$40 million (HK$313 million). She’s also a dedicated philanthropist, supporting causes such as cancer research and Stand Up to Cancer – her mother is a cancer survivor.

“I learn from my mistakes … I never feel like I am doing it all right all the time. But that’s okay. Being human is okay. That’s a hard lesson if you are a sensitive person; when you care about people and you don’t want to hurt anybody, you don’t want to f*** up. And it’s hard because you will,” she confesses.

This all paints a picture of Emma Stone as a kind of auteur, giving herself and others a platform to experiment with their greatest and most unusual work – work meant to challenge the audience. After two critically acclaimed collaborations with Lanthimos, The Favourite (2018) and Poor Things, she is set to make it a trio with the Greek maestro. Kinds of Kindness debuts at the Cannes Film Festival this month. Bring on more Emma Stone brilliance, we say.

Yoo’s Cues: Teo Yoo shot to fame with his nuanced performance in Past Lives, but the extrovert within him awaits

In the realm of entertainment, success stories are often shaped by talent, perseverance and a touch of fate. Teo Yoo’s rise has captivated audiences worldwide, a Korean actor raised in Germany who defied the odds to break into the international film industry. From humble beginnings to global sensation, his journey is an inspiring tale of passion, determination and unwavering belief in one’s dreams.

Yoo’s touching performance as a man doubting his destiny in the critically acclaimed film, Past Lives, cast him into an unexpected spotlight. The movie premiered at the Sundance Film Festival in January last year, won Best Feature at the Gotham Independent Film Awards, and was a Best Picture nominee at this year’s Oscars.

“It’s still a bit surreal as Love to Hate You was my first leading role in a Korean TV show and Past Lives was the first time I was the lead of an American feature film,” says the 42-year-old actor of 2023. “Being able to showcase the diversity of my work to the public has been exciting.”

Teo’s breakthrough came with a role that would define his career and eventually solidify his place among the finest actors of this generation. First casted in an independent film, his portrayal of a complex character captivated audiences and critics alike. The film’s success propelled Teo into the international spotlight, earning him accolades and paving the way for a myriad of opportunities.

Chosen path

This year, he promises audiences will see a different side of him. “I don’t even feel like I have scratched the surface of my potential. It is always hard to answer this question [of what challenge is coming next] because as an actor, we are not choosing what we want to do. We are getting chosen. So it is hard to tell what comes next. But I can tell you that I want to show a more colourful and extroverted variety of my character in the future.”

Born Kim Chi-hun in Cologne, Germany, in 1981, to South Korean immigrants, Teo Yoo was supposed to train as a physical therapist, but pursuing acting studies at the Lee Strasberg Theatre & Film Institute in New York and then the Royal Academy of Dramatic Art in London changed his mind.

His career began in the mid-2000s with a few small roles in Korean films. Having relocated to Seoul, he clocked up appearances in a couple of international productions – Seoul Searching (2015) and the Russian rock movie Leto (2018), both of which took him to the Cannes Film Festival.

Breaking free

As the son of a coal miner who moved to Germany as part of a labour scheme, Yoo doesn’t waste time dwelling on regret and has never been afraid to take chances. “Personally, I believe that an individual can adapt anywhere and still find a reason and a purpose to feel that they belong in said circumstance,” he says. “I also believe that it even heightens a sense of belonging due to the purposeful nature of becoming invested in the new environment.”

Heart felt

Past Lives, Yoo’s most significant career highlight to date, is an endless love story, even if it lacks the genre’s typical elements. Written and directed by Celine Song, it follows two childhood friends as they grow older, become adults and go in separate directions. It crosses boundaries, time, relationship, and even lifetimes, and arouses emotions so deeply that yearning looks are the greatest way for the two protagonists, Hae Sun (Yoo) and Nora (Russian Doll and The Morning Show star Greta Lee), to express themselves rather than words.

The story’s origins lie in the Korean idea of inyeon, which holds that two individuals are meant to cross paths because of their ties from past lifetimes. Even though the couple’s relationship is intense and powerful, first-time director Song manages to make it seem real and relatable. And Yoo and Lee persuade us that it’s true.

“The cultural belief system of inyeon helped to construct the emotional elements of the character in this particular movie,” he says, adding: “I don’t really reminisce too much about my life. But sometimes I do like to think about it as a form of an imaginative exercise, as the construct of ‘what if’ is such a Western idea. In contrast, the core concept of inyeon allows me to just be.”

A happy ending?

Warning: A bit of a spoiler. Past Lives is a romance, even if the majority of the people who have watched it don’t feel that way by the end. However, without giving too much away, Yoo insists: “Looking at it from my character’s perspective, it’s not an ending. It’s just maybe a beginning. So it’s definitely a romance.”

His Oscars 2024 red carpet moment was a touching one tinged with sadness. Yoo wore a turtle pin, and when asked by the press he revealed the layers of meaning behind his accessory choice – it symbolised his late tortoise, Momo.

“Okay, so my pet tortoise passed away last year and I had him for 10 years. I’m gonna grieve for a while,” he announced, while smiling but close to tearing up. Yoo’s vulnerability, in real life or reel life, is what makes him very likeable.

Yoo says he was “in tears for about three days” after his pet’s death. “I was so dramatic. You know, it’s like that moment you have with your pet where you’re like, ‘Oh my god. Life is over.’ And then you remove yourself at the same time as an actor and you look at the situation and you think, ‘Oh my god, this is so dramatic and comical.’”

Driven by talent, dedication and relentless pursuit of artistic excellence, Yoo has proven that with hard work and determination dreams can indeed become reality. His success story continues to unfold, leaving audiences eagerly anticipating his next endeavour and celebrating the indomitable spirit of a true artist.

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