The Beautiful ‘Past Lives’ Was Predestined for Greatness

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The Beautiful ‘Past Lives’ Was Predestined for Greatness
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First-time director Celine Song masterfully tells a decades-spanning love story. You’ll need a box of Kleenex for this perfectly bittersweet gem.

, the movie follows two childhood friends, whose unspoken love for each other remains challenged by distance, time, and that inarticulable idea ofHae Sung and Nora, who he remembers as Na Young, will never be together: Theirs will be, the film’s prologue of sorts makes clear, but a fleeting, if powerful, childhood crush.

In the time since they last spoke, Nora has left Toronto and recently moved to New York, to pursue an MFA in playwriting; Hae Sung studies engineering back in Seoul. Nora’s casual Facebook search of schoolmates from her past back in Korea brokers a chance reconnection between the two, fostered by increasingly frequent Skype calls and distracted daydreams about what may happen, should they reunite in-person.begins to show its cards.

The obvious infallibility of their potential to be together is one so cinematically powerful as to render body-shaking sobs from a sensitive viewer . Song’s script is at once vulnerable and implicit, with her direction revealing as much of the emotional honesty as her fantastic leads. Yoo, in particular, is a stand-out; he communicates Hae Sung’s deep-rooted affection in expertly drawn, uncertain body language and long pauses, as he reckons with his love for his childhood friend.

It is never lost on us that our two leads are developing something impossible; they have clear-cut professional paths and plans that cannot withstand their distance. When Nora cuts things off for, as we learn, another 12 years, it’s heartbreaking, but not because we have hope that the couple could become a couple.

; Arthur is far from the bad guy, in a story that has none. His love for Nora is always made clear, his desire for closeness expressed without self-consciousness, in ways that Hae Sung’s affection never can be. To him, Hae Sung notes toward the film’s end, Nora is “the one who always leaves.” But to Arthur, Nora is “the one who stays.”, a film whose staying power is irrefutable but never forcefully so.

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