Drifter Review (2026 Toronto Film Festival)
Sung Kang is arguably one of the most iconic Asian American actors working today. He broke onto the scene in Better Luck Tomorrow as Han Lue, a character who would later skyrocket in fame and popularity when director Justin Lin brought a variation of Han into the Fast & Furious franchise, beginning with Tokyo Drift. Drifter, Kang’s sophomore film, is a more serious drama compared to the high‑octane chaos of the Fast franchise. Yet it still centres on a deep love of cars and drifting culture.
We follow Tree (Kang), a man blind in one eye and stuck in a town he’s desperate to escape. Having never been given the chance to drift professionally, he practises in his free time, hoping that one day it will take him, and his vintage Toyota AE86 Corolla, to the big leagues. When he’s finally offered an opportunity to showcase his talent, he is invited to participate in a professional event. However, numerous challenges await him, including dealing with crime boss Lantana (Gregory Cruz), to whom he transports drugs to pay off his family’s debt.
In a way, Kang’s project is overly ambitious; it’s a melancholic drama that also features drifting competitions, which can feel overwhelming, and you begin to see some cracks in the paint. Some of the performances come across as wooden, giving several serious scenes an awkwardness, as if the actors are struggling to convey the emotions effectively. This is most evident when the AE86 is vandalised, and Kang’s emotional intensity as he lashes out at the culprits feels underbaked.
However, there are far more moments where Kang’s performance speaks volumes; the way he carries himself physically throughout is nothing short of incredible. His posture alone communicates so much about who Tree is, and it’s truly wonderful work. It also helps that the narrative, while structured like a typical drama, keeps you gripped and rooting for Tree and his newfound drift team to succeed. You want to see him break free from the clutches of Lantana, played perfectly by Cruz, who brings a malevolent edge to every scene.
From the very first time we see a car drift, what stands out most is how incredible, and immaculate to the ears, the score is. Chanda Dancy delivers an absolutely wonderful composition, one that feels truly memorable and massive in scale, matching the ambition Kang pours into this project. However, with a film called Drifter, the main star of the show should be the drifting.
In what feels like a genuine love letter to the car community. Every time we slip behind the wheel, the camera perfectly captures every drift, gear shift, missed call, and so much more. The film is shot with real creativity, whether through simple wides, dynamic drone work, or POV shots from behind the wheel. Not since Pegasus 3 earlier this year have I seen a car film that kept me glued to the screen with the feats unfolding before me. Every drifting sequence is spectacular and has me truly enthralled.
Drifter is rough around the edges, but if you open your heart to it, you’re in for a seriously great time. Kang’s direction, both outside the car and behind the wheel, is nothing to look down on, delivering moments that are genuinely mesmerising. For people in the car community, this is a must‑watch simply to witness the passion unfolding on screen.
★★★★
Had its World Premiere at the 2026 Toronto Film Festival / Sung Kang, Tamara Braun, Michael Nehring, Grant Sullivan, Gregory Cruz / Dir: Sung Kang
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