“Past Lives” Review — A Beautiful Ode to Fading Love
Celine Song’s directorial debut goes beyond any expectations, as she skillfully weaves a rich tapestry of emotions with a cinematic elegance that is both subtle and deeply sincere. Through a captivating, slow-burning narrative, the film presents a romance that speaks volumes to the value of time and memories while raising the all-important question: What if?
The narrative follows Na Young (Greta Lee) and Hae Sung (Teo Yoo), two childhood friends from South Korea, who slowly develop an innocent romance. When her family immigrates to Canada, their relationship is broken and both are left with a faint feeling of longing. 12 years later, the two briefly reconnect online but can’t seem to act on their feelings fully. 12 years after that, they finally meet in person for the first time in 24 years, in New York, where she works as a writer, under her Western name, Nora. As they rediscover their former selves through mature eyes, the protagonists question what could have been if events had turned out differently.
Lee and Yoo shine as the two leads, gracing the screen with nuance and a staggering uneasiness, born out of the prospect of rekindling feelings that are 20-plus-year-old. Nora frequently smiles at her childhood friend, revealing kindness, understanding, and an anxious sense of confused desire. In contrast, Hae Sung’s expression is solemn, having deep conviction regarding his feelings. As they face the inconvenient truth, both protagonists display breathtaking vulnerability, embodying one of the most delicate cinematic depictions of idealistic love.
Growing more comfortable with each other, their conversations become much more philosophical and display an almost poetic quality. Their discussions about fate and What-ifs offer genuine depth to the story and mirror moments from Lost in Translation (2003) and In the Mood for Love (2000), films that glance at the possibility of romance with the same affectionate eyes.
Song takes her time in crafting a sense of subtle tension between her two main characters, creating contrasting spaces that take the viewer through a complex journey of fondness and reconnection. The small childhood neighborhood in Seoul has a dreamlike quality and seems to fit Hae Sung’s naive, yet truthful way of loving. On the other hand, Nora’s pragmatism and ambition are in tune with the hectic lifestyle of New York, a city in which her childhood friend feels like a fish out of water. Shabier Kirchner’s cinematography truly shines in the second part of Past Lives, casting NYC as a vividly textured backdrop that serves as a poignant companion to the inner turmoil of the main characters.
The film’s quiet demeanor is purposeful and allows the story of lost youthful love to develop organically. Song’s gentle minimalism is heightened by the score, written by Grizzly Bear, a Brookly-based indie band. The instrumental arrangement beautifully paces along as the protagonists grow apart and eventually attempt to reconnect, highlighting the innocence of youth and the pain of longing. The film also uses silence splendidly, allowing the abrupt breaks in conversations to intrude on the seemingly courteous relationship and reawaken deep-seated emotions.
John Magaro’s character, Arthur, is a welcome addition to a film mainly focused on two characters. He is understanding of his wife wanting to meet with Hae Sung, yet can’t ignore his feelings of jealousy, showing us another facet of love’s mercurial nature. I also particularly enjoyed his discussions with Nora, which add even more passion to the story and raise questions about the nature of belonging.
Celine Song’s feature debut is a testament to the intense emotional depth woven into memories of youthful affection. The deliberate pacing of the narrative captivates, providing poignant moments in which the two protagonists radiate tenderness. This genuine warmth stands as the vivid core of a grounded story of desire and fate that marches to its own gentle beat.
