What are the indicators that a relationship has taken root? Is it the lingering exchange of gazes, endless chatter, or a moment shared that seems more extraordinary? Or is it when the comfort of routine settles in, and you discuss the mundane, like what to cook for dinner, with your significant other? "Past Lives," a poignant film by Celine Song, delves into these gentle undertones of affection that could, and sometimes do, blossom into something more significant. It's an introspective journey into relationships at varying phases. From the innocent crushes of childhood to the so-called certainties of adulthood, told through the experiences of two characters. They exemplify how connections, both realized and unrealized, shape our existence.
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As a young girl in South Korea, Na Young (Seung Ah Moon) has a crush on her classmate, Hae Sung (Seung Min Yim). Their budding friendship interrupts when Na Young's family moves to Canada, causing the two friends to drift apart. Fast forward twelve years, and Na Young, now known as Nora (Greta Lee), is an aspiring playwright in New York City. Hae Sung (Teo Yoo) is a promising engineering student in Seoul, who has never forgotten his early infatuation. Reconnecting through Facebook, their lives soon revolve around regular Skype sessions, disregarding time zone differences. However, as neither seems ready to sacrifice their budding careers, their digital rendezvous ceases. Their lives diverge yet again for another twelve years before a chance reunion reignites feelings thought to have been long abandoned.
Song's debut feature is a testament to her storytelling prowess. Transitioning from playwriting to filmmaking, Song centres the narrative and visual focus around Nora and Hae Sung. Their shared connection, despite the physical separation, is palpable. Every longing gaze, sleepless video chat, unaddressed email, and thrilled smile map out their relationship journey. The conversational dialogue, abundant in Song's script, stirs emotions through authentic exchanges rather than grand dramatic gestures.
Cinematographer Shabier Kirchner captures the essence of "Past Lives" with intimate close-ups of Nora and Hae Sung's reactions. From magical sunset moments on Brooklyn's waterfront to explorative street walks in East Village. Their long-awaited reunion is captured with a playful nod to their childhood days in Seoul. Regardless of their location, the cinematography invokes a sense of their mutual connection, emphasizing the significance of their shared moments.
While the primary focus of "Past Lives" is on love, it delves deeper, touching upon immigration and cultural identity. The move abroad by Nora's family is rationalized by her mother, who remarks, "If you leave something behind, you gain something, too." Nora's journey leads her to a successful career in New York City and a nurturing marriage with Arthur (John Magaro), a compassionate writer. Yet, she feels detached from her roots and rarely speaks Korean. Her confession to Arthur about her feeling 'not so Korean' around Hae Sung, her childhood crush, unveils her insecurity about her cultural identity.
"Past Lives" intertwines Nora and Hae Sung's mutual past as a secondary connection, representing a life left behind by Nora. Their shared language offers a private conversation space, alien to Arthur, reinforcing their unique connection. Yet, a shared past does not necessarily translate into shared feelings. This is demonstrated in the movie's recurring theme of In-Yun, past life encounters influencing present connections. They may have shared a glance as kids, but their life paths have diverged.
Lee and Yoo, with their natural ease and charm, breathe life into Nora and Hae Sung. Their vibrant conversations and glances that hint at a rich backstory make their performances captivating. Their restrained emotions, barely concealed by courteous smiles, break free with a single sigh. It hints at the melancholic acceptance of love that was never destined and a past that grows more distant.
The mix of nostalgia, love, and regret makes "Past Lives" an exquisite watch. The film echoes other cinematic masterpieces such as Wong Kar-wai's "In the Mood for Love," Richard Linklater's "Before Sunrise," and David Lean's "The Passionate Friends," but remains distinctively Song's creation. It explores the what-ifs of unrealized possibilities, basking in the fleeting joy of ephemeral sandcastles built by time. It invites us to cherish the memories of our past lives while acknowledging the losses, untraveled roads, and relationships that were never our destiny.
