An exploration of childhood connections maintained over the years, of roots that inevitably intertwine with others in a way that keeps you tangled up with others for decades, and the dangerous quicksand that can be created by the clash of memories blending with fleetingly idealistic moments in the present, Past Lives is a confident and moving debut from writer-director Celine Song that is entirely deserving of all the praise it has already received before I add my own extra helping here.
Nora (Greta Lee, although played briefly by Seung Ah Moon in scenes showing her childhood) is a woman who has moved from South Korea to the USA. She has tried to keep in touch with her childhood friend/crush, Hae Sung (Teo Yoo, with Seung Min Yim as the younger incarnation), but they both struggle with processing the unsaid thoughts and emotions while maintaining a long-distance friendship. Despite Nora eventually marrying an American man (Arthur, played by John Magaro), she is excited by the prospect of Hae Sung arranging a visit to see her. Which feels like it could be a difficult, but necessary, experience for all three individuals.
Concentrating on the characters, the carefully-chosen words used around one another, and the elements of many modern love stories (Arthur comments at one point that he would be the main obstacle in a standard tale written about Nora's quest for a perfect romance), Past Lives is a film that should speak to many people about something we've all gone through, despite it not often being displayed in this way. There's plenty to digest about diverging pathways, as well as some comments about language and cultural differences, but, to me, Past Lives is about grief. The grief of a lost love, whether it's a relationship that ended or a relationship that never quite went the way you wanted it to go. Because it's not often talked about, that kind of grief can hang on you like a soaking wet coat, weighing you down for a long time as you go through your daily routine, leaving those around you wondering why you're seeming a bit out of sorts. It's draining, and you yearn for some moment, whether it's big or small, that leads to a cathartic release. That moment can be positive or negative, it doesn't matter . . . what matters is the reaction it gets from you. A big laugh at your own ridiculousness, or the unfairness of the universe, a scream of frustration, a flood of tears, a sudden bout of nausea, anything that pulls you out of that darkness.
Song helps herself enormously by casting the leads so well. Lee, Yoo, and Magaro are three perfect sides of an equilateral triangle, all treating one another with care as they work on untying knots of their past, present, and future. Everyone is easy to like, which is essential when you're dealing with these complicated feelings, and Lee shines particularly bright at the heart of everything.
I've seen criticism of this, some of it seemingly in response to the many compliments it has received, and I can understand why some people may not appreciate the central concept. I side with the overwhelming majority this time though, as I have made clear throughout this review, and I appreciate this as a delicately-crafted, near-perfect, gem of modern cinema. Everyone should give it their time. You may not agree with me, but if you who end up loving it then you will REALLY love it.
9/10
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