We Are Born Good Review (2026 Toronto Film Festival)

What does it mean to be good? Is goodness something we’re born with, or is it something we must actively cultivate, as being bad naturally flows out of us? We Are Born Good, written and directed by Leung Chuen Yeung, delves into the spiral that a single argument can set in motion. Exploring the toxicity of vindictiveness and the ways people justify their actions, leading to an enthralling and promising debut feature.

Zoey (Suet Ying Chung) is an actress struggling to stay afloat amid debt and constant disappointment. She’s handed the opportunity of a lifetime when she auditions for a play by a returning stage director who made it big in London. After nailing the audition, she stops by Wing Lee Café, a local restaurant run by Wing-Kat (Wai Lun Yeung), and orders food. She receives the wrong dish, Beef Chow Fun instead of Singapore Noodles. When Wing-Kat refuses to remake the order because the restaurant has already closed, the moment sparks a spiralling cycle of revenge between the two.

What begins as a petty act of revenge soon spirals out of control, with the pair committing increasingly heinous acts against each other. From posting personal information on adult sites to reporting the restaurant to authorities for alleged violations. Throughout the film, we see that they are evenly matched in their grievances, yet they allow their vindictiveness to take over, continuing the feud. It’s enthralling because we know it will inevitably go too far, and we find ourselves waiting for the moment when everything turns real.

Even though Zoey and Wing-Kat’s personal issues stem from vindictiveness, their actions are never meant to be more than a simple back-and-forth; they never intend to ruin each other’s lives. Intent becomes a crucial factor in how we interpret their behaviour. Zoey and Wing-Kat do bad things, but does that make them bad people?

The film contemplates this idea, as we encounter characters whose morality is genuinely debatable. Wing-Kat’s brother and father constantly judge him in the present for the mistakes of his past. His brother, in particular, is a hypocrite: he insists that a key event in his own life is ancient history and shouldn’t affect his future. Yet in the same breath he weaponises Wing-Kat’s past to justify his current malicious actions.

Zoey’s friend also falls into this pattern. Justifying her behaviour as “putting right a wrong,” even though she uses that reasoning to excuse how controlling and vindictive she can be. Other aspects of the film’s message can be read problematically, particularly in how it approaches depression and suicide. Zoey and the stage director’s subplot also head in a direction that feels unnecessary, and could have been removed with little impact on the film’s overall trajectory.

Suet Ying Chung and Wai Lun Yeung are utterly incredible in their respective roles. Watching each character spiral out of control feels genuinely believable, and they bring a palpable energy to the film that’s enthralling to see unfold on screen. The supporting cast is equally strong, grounding the more chaotic moments and making them feel both credible and impactful.

Technically, the film is superb. The opening credits feature an incredible score as we watch Zoey commit her first act of revenge. Throughout the film, the cinematography carries remarkable depth and movement, giving the visuals a dynamic quality from start to finish. It’s also paced extremely well, with every scene propelling the story forward.

We Are Born Good is a strong feature debut from Leung Chuen Yeung. With its incredible performances and a narrative that compellingly explores how vindictiveness can spiral out of control and the excuses we create to justify our actions, the film proves utterly enthralling. A genuinely great experience and a must‑watch.

★★★★

Had it’s World Premiere at the 2026 Toronto Film Festival / Suet Ying Chung, Wai Lun Yeung, Wing-Sze Ng, Chun-Yip Lo, Kearen Pang / Dir: Leung Chuen Yeung

About the Author

Robert Ewing

Author

Rob is a freelance film critic and writer who specialises in Anime and Asian cinema. I have adored film since a young age, having watched films that were far too old for me, such as RoboCop, Die Hard, and Hot Tub Time Machine, to discovering the heights of foreign cinema through films like Headhunters and Battle Royale. Growing up with such a diverse catalogue of films that I cherished sparked my desire to discuss them. This passion eventually led me to become a reviewer. Dissecting films, speaking to filmmakers I admire, and showcasing the best of Asian and anime cinema is how I live my best and truest life.

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