I often say ‘There is no such thing as a perfect movie’… but once in a blue moon, a rare gem comes along and proves me wrong. It doesn’t happen every year that a movie completely swept me off my feet, but in 2023, that movie is Past Lives. I first caught the first buzz of it out of Sundance, which marked its first in-person screening since Covid happened. It’s a feature film debut by Korean-Canadian writer/director and playwright Celine Song and the story is loosely based on her own experience where a writer reconciles her present and her past. The title itself refers to a concept that refers to providence or fate… as one character explains:

‘There’s a word in Korean: in yun — it means “providence” or “fate”. If two strangers walk by each other in the street, and their clothes accidentally brush, that means there have been eight thousand layers of ‘in yun’ between them.’

The movie opens in a bar where a conversation between two unseen people analyzes the relationship of the key players of the film. It’s a superb and effective opening as we as the audience are wondering the same thing. We’re then transported to a suburb of Seoul with a pair of childhood sweethearts, 12-year-old Na Young (Seung Ah Moon) and her classmate Hae Sung (Seung Min Yim) are practically inseparable. They may compete to get the best grades in school, but their close bond is palpable as they walk home from school together. They would hold hands in the back of their parents’ car, they even go on ‘dates’ as their two moms chat on a park bench.

Yet the clock is ticking for Na Young’s family to emigrate to Canada. The scene where the two kids go on their separate ways on their last day is devastating, this is not an easy separation for both of them.

Fast forward 12 years later and Nora (Greta Lee) stumbles upon Hae Sung’s (Teo Yoo) profile on social media and they giddily reminisce on their childhood via Skype. There is a feverish anticipation as they eagerly await their next call but it’s clear that with the passing of time, the two have grown up and taken different directions in life. Nora is on her path to becoming a playwright and is assimilated into her new life in Canada, even though she can still speak fluent Korean. Meanwhile, Hae Sung ends up serving time in the military, like many young men in Korea, but Nora is never far from his mind.

Twelve must be a special number for Song as the film jumps forward again a dozen years later when both leads are well into their 30s. By this time, Nora is working as a playwright in New York City and has married Arthur (John Magaro), a book author whom she met during her writer’s residency. Hae Sung is aware that Nora is no longer single, but decides to visit her anyway. In a typical rom-com, the movie would descend into a hackneyed love triangle where Nora has to choose between two men.

Fortunately, this is not that kind of movie and Song’s script manages to avoid corny sentimentality even during the most melancholic moments. The scene where Nora finally meets Hae Sun in person feels almost restrained, but also quite comical as both are unable to say anything except ‘wow’ in Korean. There’s a sense of joy and curiosity that permeate their reunion, conveyed by their recurring glances and awkward smiles. Song’s direction allows her characters to breathe through long silences that are brimming with so much emotions. They slowly unpack what this reunion means to them over the course of the day as they stroll around the city.

There’s such a refreshing frankness in the way Song depicts Nora and Arthur’s marriage as they lie in bed talking about how they end up together and whether they are meant to be. Arthur is fully aware that in classic romantic tales, he would be the one standing in the way of these childhood sweethearts’ happiness. But of course, in reality, our lives aren’t just the results of fate or however many layers of ‘in yun’ that’s accumulated over the years. There are also choices we make that get us where we are. Most romantic dramas often romanticize ‘the one that got away’ but it’s rare to see one that tackles that theme head-on while also celebrating the ‘the person one has chosen to be with.’

In a sea of movies that are constantly in motion but carry so little weight, Past Lives is such a stunning anomaly in its gentle nature and astute subtlety that packs an emotional wallop. The visuals have that ethereal quality, lensed beautifully by Shabier Kirchner. Given Song’s background in theater, I could see this movie working well as a stage production with its meticulously crafted dialog. Most of the scenes simply contain two-three people conversing but it never feels verbose or tedious. I admire Song for her way of injecting a sense of humor in awkward situations that feels organic and not at all forced, such as the first time Arthur meets Hae Sung and feels insecure given that he’s taller and more masculine than him.

The beauty of Past Lives is how authentic relatable the characters are, plus they cast the right actors for the part, including the kid actors playing the young versions of the leads. Lee and Yoo, who was also in the excellent Korean drama Decision To Leave, are simply wonderful to watch and they work really well together. Magaro makes quite an impact with relatively little screen time, but the MVP is definitely Greta Lee whom I’ve never seen before until this movie. She carries this dramatic role with such grace and sophistication, I’d love to see more of her in prominent roles.

Thus it wouldn’t be a hyperbole to call Past Lives a spellbinding movie. Never has something so low-key hit me like a ton of bricks. I was transfixed by its soulful and elegant simplicity where less is definitely more. What’s more, Song caps off this lyrical exploration of life’s ‘what ifs’ with such a perfectly bittersweet ending. Even though we’re only halfway into 2023, I know this movie will reign in my top 10 BEST of the year. I’m pretty sure this will be a shoo-in for at least Best Original Screenplay, even Best Picture, come award season.

Have you seen PAST LIVES? Let me know what you think!

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