Past Lives.

Past Lives is the first feature from writer-director Celine Song, and became a surprise hit at the U.S. box office, taking in just over $10 million even though it has no stars in the cast and much of the film is in Korean. It’s small and intimate, with only three real characters, yet manages to explore the nature of love and identity as we follow two of those people from their childhood in South Korea to a meeting in New York 24 years later. It’s a wonderful film that barely strikes a single wrong note even as it moves through territory that naturally lends itself to sentiment and cliché. (You can rent it on amazon, iTunes, etc.)

Na Young (Greta Lee) and Hae Sung (Teo Yoo) are 12-year-old classmates and academic rivals when we first meet them, but just as they seem to be falling for each other, Nora’s family moves to Toronto, after which she takes on the name Nora Moon. Twelve years later, Hae Sung finds her via a page for her playwright/director father’s latest movie, and the two strike up a very intense relationship over Skype and messaging, one that seems to be headed for something more serious until one of them calls it off due to their careers and the physical distance between them. A dozen years after that, the two connect in person, but the window for them to have an actual romance has closed, and they both have to deal with the weight of their memories and the lost connection to each other.

The title of the film refers to a Korean concept, inyeon, where people are connected over their lives or even multiple lifetimes, to the point that fate or providence is pushing them together. Nora and Hae Sung spend significant time in the film debating whether they have inyeon and are actually meant to be together, although in the end it appears that they don’t, as one of them falls in love with someone else. It would be romantic if it were true, but even Past Lives doesn’t take it as fact and in many ways subverts the concept with what it does to its two protagonists.

Beyond the love story, however, there’s a powerful meditation here on national/ethnic identity and the difficulty of assimilation. Nora left Korea at 12, learning English shortly before their trip, and then emigrated a second time from Canada to the United States. She works diligently to fit into western culture, including taking on a “western” name that non-Koreans could more easily pronounce or remember, in a familiar look at the immigrant story where the younger generation becomes American or Canadian or European and loses some or all connection to their country of birth or their parents’. When Hae Sung appears the second time, by which point they’re 36, she’s moved on with her life enough that his visit throws off her equilibrium, and over several days she becomes more uncomfortable with her feelings and with this intrusion of her past life into her current one. At first, Nora’s the cool one of the two, as she’s married and looks at Hae Sung with some pity because he’s not and it’s clear that he hasn’t entirely moved on. The more they talk, and Hae Sung becomes more open about his feelings, the more it rattles her, dredging up something she’s tried to forget or bury, whether it’s him specifically or something broader about her past.

Lee is a revelation in Past Lives, carrying large portions of the film herself because her character is the conflicted one and we see more of her without Hae Sung than the reverse. I’d only seen her previously in some guest spots on the new Electric Company, but I can’t say I remember her appearances. So much of the communication between Nora and Hae Sung is nonverbal, and both Lee and Teo Yoo are superb at expressing their feelings through gesture or facial expression – the ambivalence Nora feels when Hae Sung visits, her anxiety when he and her husband Arthur (John Magaro) meet, the feeling of being stuck between two people who can’t communicate directly so she’s the translator despite her feelings for and about both men.

The script takes Nora’s perspective more than Hae Sung’s, giving her character more depth while leaving him a little harder to grasp, which would mirror the way she’d view him given the huge chunks of time between their real and virtual meetings. We see more of her life outside of their interactions with each other than we do of his, with Hae Sung’s scenes without Nora mostly times he’s out drinking with his buddies. The Best Actress field is incredibly crowded this year, so Lee may not end up in the final five, but it’s an outstanding performance without which the film wouldn’t be as effective or as affecting.

I’ve seen references to Past Lives as romantic, but I don’t think that’s the apposite word here – it’s about romance, but it’s far more realistic than romantic. A romance might have forced the two together in some unbelievable plot twist or sop to the audience. Such a conclusion would have done a real injustice to the characters and the story here of the sacrifices we make in life and the difficulties many people face when leaving one family, culture, or country for another. Instead, Song weaves a delicate tapestry around her two main characters, maintaining the credibility with the viewer so that we can spend time pondering the what-ifs of this pair, and the what-ifs in our own lives – the relationships, romantic or platonic, that never came to pass because life got in the way. It’s a simple, quiet marvel, and beautiful right through the characters’ anguish when they meet for the last time.