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Quietly and unobtrusively, the film “Past Lives” from Korean-Canadian playwright and director Celine Song has captivated audiences this year. Every new viewer is converted, eagerly recommending it to others and adding to the film’s growing fanbase. This enchanting movie explores themes of lost love and missed opportunities, as well as the idea of alternate existences and the paths we could have taken. For first and second-generation immigrants in the US, this question becomes increasingly urgent as they reach their 30s and 40s: what if I had stayed in my home country? Who am I meant to be?
Greta Lee portrays Nora, a sophisticated Korean woman who has moved to New York City and is now achieving success as a writer. She is wedded to a Caucasian American named Arthur, played by John Magaro, who is also an aspiring novelist. However, their marriage is complicated due to Nora’s reconnection with her childhood sweetheart, Hae-sung (played by Teo Yoo), through social media. Despite their innocent intentions, their Skype conversations are filled with urgency, excitement, and possibly even hidden passion. For Nora, speaking in Korean brings about a noticeable transformation.
As they were on the verge of finalizing plans for Hae-sung to visit Nora in person, she suddenly pulled back, possibly worried about regressing. Song implies that Nora is determined not to let her successful American identity and career be pulled back into her past. When Hae-sung eventually visits New York many years later, it is during his vacation (similar to saying “I happened to be in the area…”).
Nora is fully dedicated to her recent romantic connection. However, she is greatly moved by the sight of Hae-sung, and their encounter carries a deeper meaning in their mutual understanding of what could have been. And Song cunningly, even somewhat somberly, reveals to us that, as writers, Nora and Arthur cannot resist recognizing the captivating qualities of Hae-sung: the unassuming man without Nora’s dazzling new public image and ambitions, the humble spirit who accepted his fate of unrequited love. He possesses a certain nobility that surpasses them both.
Both Nora and Hae-sung are familiar with the romantic Korean belief of In-yun, which encompasses the idea of destiny, fate, and the reunion of souls who have known each other in previous lives. This intangible concept has taken on a tangible form in the modern digital age. Their past lives were their childhoods, which may have been forgotten in other times, but are now brought to life in a world where information is instantly accessible. While other filmmakers may use this concept for irony, comedy, or psychological suspense, Song chooses to portray it as a deeply passionate love and a source of introspection.
Past Lives joins a collection of captivating and varied Asian films that explore the concept of identity in a Western setting. These include Lulu Wang’s poignant Chinese-American comedy The Farewell (2019), Daniel Kwan and Daniel Scheinert’s mind-bending fantasy Everything Everywhere All at Once (2022), Davy Chou’s drama Return to Seoul (2022) about a Korean adoptee, and Adele Lim’s comedic adventure Joy Ride (2023). However, Past Lives stands out among them due to its clever and effortless approach. The most intricate feelings arise from the simplest cinematic techniques.
Looking back on this film at the end of the year, I believe its strength lies in its depiction of Nora and Hae-sung’s childhood. These moments are not just a brief introduction or casually significant as a prelude to the story; their bond as children is just as crucial as their relationship as adults. These are their past experiences that continue to shape their present lives.
Source: theguardian.com
