There's a scene in the visual-essayist-turned-filmmaker Kogonada's directorial debut in which Haley Lu Richardson, a college student in Columbus, Indiana, takes a visitor – Star Trek's John Cho – to a local architectural wonder. She gives him tour guide's spiel. He interrupts her: But why does it move you? We then watch Richardson begin to explain, emphatically, what it is about this particular building that gives her such an emotional reaction; because the director switches angles and films her from behind the residence's window, we never hear what she says. Some folks have criticized the sequence, saying it's another female character denied the chance to speak. But you could also look at the scene from the perspective that the answer itself is not what matters – it's that someone actually bothered to ask this young woman what she thinks. It's moments like that one that have kept us thinking about this deceptively spare character study, a small film about connecting that left a gigantic impact on how we thought about the art form in 2017. Any year that gave us a movie like this could not have been all bad.