PAST LIVES

US, 2023, 105 minutes, Colour.

Greta Lee, Teo Yoo, John Magaro..

Directed by Celine Song.

It is said that writers should tell their own story. Playwright and director, Celine Song, draws on her own experience of her early years in Korea, her family migrating to Canada, her becoming a writer, marriage. But she enhances it with imagination, exploration of emotions, moments of communication, moments of silence.

There are several layers of meaning in the title, Past Lives. To else remembering their past and connections. However, there is an explanation of In-Yun (in-yuen) a Buddhist influence way of thinking, reincarnation, connections and past lives, bonding in the present, future connections.

Basically, the narrative takes place in three-time eras, opening in the present, going back 24 years, advancing 12 more years, coming back to the present. But the opening is tantalising, three adults at a bar, and a voice urging the audience to look at them, what the connections might be, the possible relationships. And the central character, Nora (Greta Lee) looks directly at camera. What are we thinking? What are we wondering? Who are these three?

The first part of the film takes place in Korea itself, and we are introduced to two 12 year olds, Na Young and Hae Sung, she always getting top marks, this time he beating her, and she crying in distress (something she often does). But, we see them as friends, playing together, their mothers having conversations – where will this lead? The immediate and sad answer is that her family is migrating to Canada. This moves him deeply. For her it is just part of life as she wishes him goodbye.

12 years later, Na Young has become Nora, a successful playwright, becoming very much a Korean North American in Canada. She attends a writing camp, meet writer, Arthur (John Magaro) and they bond. Meanwhile, Hae Sung(Teo Yoo) does his military service, rather unhappily, has a job, not satisfying, a girlfriend, but starts to look online for Na Young, not knowing she is Nora. When Nora he is about this, she makes a move and they have an online conversation, he devotedly remembering her and regretting her absence, she simply remembering a friend.

And then 12 years later again. Nora and Arthur are successful, he had a book launch signing, she writing plays, an apartment in New York City. And then Hae Sung decides to visit New York.

Celine handles this section of the film with great delicacy. The audience has got to know Nora very well and we wonder how this visit will affect her, friendship, affection, the presence of Hae Sung after 24 years. While the audience does know Arthur, we wonder how this visit will affect him and his love, his marriage. And what of Hae Sung, at this age, breaking with his girlfriend, wanting to see Nora again, devotion, rekindling love…?

In one sense, there is a great simplicity in the screenplay, the visit to New York, meeting, discoveries after 24 years, a tourist trip on the Hudson, a pasta meal at the bar. But, there is depth and complexity in the conversation at the bar, key to the whole film and the relationships, Nora between the two men, some speaking in English, some words in Korean, more and more Nora talking with Hae Sung, Arthur somewhat on the outer, but the conversation beautifully opening up Hae Sung’s devotion, Nora’s memories, her friendship and affection, her love for her American life, her love for her husband. And, while this conversation is dramatically telling – and she explains the conversation to Arthur, it is the final scene which so aptly and movingly bring this story to a conclusion, Nora accompanying Hae Sung to an Uber, their standing, silently, a distance between them, waiting for the car to arrive. And Nora returning to Arthur.

Great emotional exuberance – but profound emotional depth.

1. The title, the past lives of Nora and Hae Sung, but the connections in past lives in terms of, Buddhist background, Korean interpretation, secular interpretation? Reincarnation?
2. The autobiographical aspects of the narrative, the experience of the writer-director? Career, migration, Canada, New York, the literature and theatre world?
3. In-Yun (in-yuen) and the Buddhist reflection, contacts in the past, contacts in the present, future contacts?
4. The opening, the three people at the bar, the questioning, the possible relationships?
5. Transition, 24 years earlier, school, Na Young and 80, the steps, talking, aged 12, her always getting top marks, his beating her in maths, her weeping? Their friendship, the play at the statue, their talk? The two mothers? The father and his filmmaking, home scenes? The decision to migrate? The two daughters, Na Young be unbecoming Nora? Saying goodbye, her friendship, but seemingly offhand, his deep feelings about her? Farewell, the plane trip, arriving in Canada, settling?
6. 12 years later, Nora, her writing, theatre, at 24, relationship family, Internet connections, friends and career, discovering that he was looking for her, the contact, his motivations, missing her, memories of the past? Talking via computer, memories, the bonds, a change, his change, promising a visit?
7. Nora, going to the writing school, meeting Arthur, working together, bonding? He and his military service, the glimpse, not happy? Flying to China? His friends, the drinking, girlfriend?
8. 12 years later, Nora and Arthur in New York, his book signing, her theatrical writing? Married for many years, the apartment?
9. Hae Sung, the plan to go to New York, letting Nora know? The flight, his arrival, the friends and the drink, storms and rain in New York?
10. Arthur, his bond with Nora, learning some Korean, their shared interests and work? His reaction to the visit of Hae Sung? Nora and her reaction, meeting him at the airport, his settling in, his response, his love for Nora, the memories, the break with his girlfriend? His comment about earning money and supporting the wife?
11. The tour of New York, the boat, the vistas of New York for the audience?
12. The outing, his meeting Arthur, language, polite, loving pastor, the restaurant, sitting at the bar?
13. The core of the film with the scene in the bar, talking, the two talking more and more in Korean, the depth of the conversation, the nature of love, of friendship? The exploration, Arthur patiently present? The conversation with Nora, her love for Arthur, the experience of meeting Hae Sung again?
14. The next day, the farewell, the Uber, walking together, the long silence, the embrace, his departing? Her returning to Arthur?