The motif of soulmates has been repeatedly explored in cinema throughout its history, particularly in romantic dramas/comedies which found a rather appealing theme in order to develop stories from. Celine Song, in her feature directorial debut, presents her take on the motif, through a semi-autobiographical approach that also combines the theme of the Asian-American diaspora. “Past Lives” premiered in Sundance, was later screened in Berlin and recently found its place in Busan.
Past Lives screened at Busan International Film Festival
The story begins in 2000, introducing us to two deeply connected childhood friends, Na-young and Hae Sung, who find themselves separated after the former’s family emigrates from South Korea to Canada. Twelve years later, Hae Sung has finished his military service and Na-young has emigrated to New York City, where she has changed her name to Nora. One day, she discovers on Facebook that Hae Sung had commented on a post that he was looking for Na Young, unaware of her name change. They reconnect through video calls but are unable to visit each other, as Nora will attend a writer’s retreat and Hae Sung is moving to China for a language exchange. At her retreat, Nora meets Arthur Zaturansky and they fall in love. Hae Sung also meets a woman, and they begin dating. 12 years later once more, the two finally get to meet in New York.
Celine Song directs a slow burning, quite tender romantic film, which also includes one of the best-working flashbacks (intro if you prefer) and one of the best endings we have seen in a romantic film. Apart from these, the movie essentially deals with the concept of soulmates, and how it can shape the lives of people, particularly in a society such as the Korean, where it is actually part of a wider belief regarding reincarnation.
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Instead of following the usual paths of such films, though, or even the more intense one of titles like “The Secret”, Song chooses to focus on the two main characters’ lives outside of their childhood romance, essentially moving more towards individual analysis, with Nora definitely having the lion’s share in that regard. As such, the build up to the moment the two meet again is at least as significant as the actual events and the way their relationship moves at the end, additionally intensifying the agony of what will happen to the two Koreans in the end.
At the same time though, and also quite interestingly, Song chooses to focus at least as much on individual scenes and in essence, to shape her narrative around them. The initial split, with the two different paths, one straight and one upwards for example, seems to be a metaphor for the whole route the two take in their life, actually extending to their later lives. The scene at the bar, both in the beginning and the end of the movie, and the way Song essentially dictates the first impression the viewer should have, the one with the discussion of the married couple in bed, and most of all, the ending, which speaks volumes about what exactly happened, are all reasons enough on their own for someone to watch the movie.
At the same time, and perhaps due to the aforementioned, there are large parts when the movie is lagging, particularly before the meeting, which extends its duration somewhat unnecessarily to 105 minutes. As such, Keith Fraase’s editing could have been a bit more tight, as the movie would definitely benefit from some pace here and there. As a whole, however, his work is competent, with the flashbacks and the transitions being smooth and well placed within the narrative.
Shabier Kirchner’s cinematography is rather good, with her capturing the different settings with realism and artistry, with her close ups also working quite well for the most part. Furthermore, the way she has captured Greta Lee, the undisputed star of the movie, adds to her performance, essentially heightening its impact. And talking about Greta Lee, she is impressive throughout, retaining a very appealing sense of measure even in the most difficult scenes, while finding her apogee in the finale. John Magaro as her husband completes her performance rather well, while Teo Yoo as Hae-sung puts the cherry on top through his interactions with both.
I wouldn’t go as far as many critics and deem “Past Lives” a masterpiece, but it is certainly a well-acted, well directed movie that shows that Celine Song can handle emotion (even sentimentality if you prefer) quite well, in a style that could as well dictate how romantic movies proceed from now on.
