Past Lives (2023)

 ☆ ☆ ☆ ☆

Past Lives (2023) – C. Song

Celine Song’s debut film is a wistful and melancholy reflection on many things, chiefly the people we used to be in earlier parts of our lives.  Perhaps it is telling that the film includes two lengthy flashback scenes: first, 24 years ago when the protagonists are around 12 years old and living in Korea, and then again 12 years after that, when one of them (now named Nora; played by Greta Lee) lives in New York City (after her family migrated first to Toronto) and the other (Hae Jung; played by Teo Yoo) remains in Korea.  They found each other as a result of facebook.  I am sure this was a common experience at the time (it was for me!) as people suddenly found that they could look up old primary and secondary school friends to find out where they were now (and marvel at how much everyone had aged).  But intriguingly those people you found again only knew a past version of you, one that might not even feel accurate anymore.  And, as Song points out, this odd feeling might be even more significant for migrants, who may have even starker differences between past and present selves, including speaking different languages, practicing different cultural norms, etc.  Such is the case for Nora.  Yet, it is easy to romanticize the past, probably even for those who have not moved places (as much as some of us have). In the film we are led to feel that there could be romantic possibilities between Nora and Hae Jung based on their friendship at age 12 and their rapid re-engagement 12 years later.  But another 12 years pass before they actually meet face-to-face and by then, Nora is married (to a Jewish American, Arthur; played by John Magaro).  When Hae Jung shows up in New York, will Nora leave Arthur for him?  Arthur worries about this “fairy tale” possibility (and the Korean notion of pre-reincarnation past lives creating a sort of destiny for lovers in this life). However, Nora (and Celine Song, whose story this may be) may be more realistic than the men in her life. Naturally, this film hit me in all sorts of ways and might be more relevant for me than others, as a migrant myself, married to a migrant from Japan, and, especially, as a 56 year old with many past selves. The reflective tone (punctuated by quiet shots of NYC with appropriate music) was just right for contemplating these things as well as the beautifully acted characters and relationships within the film.