In Celine Song’s latest cinematic masterpiece, “Past Lives,” there exists a moment that will undoubtedly steal your breath away. This exquisite semi-romantic drama, undeniably one of the year’s cinematic gems, weaves the poignant tale of Nora (portrayed by the brilliant Greta Lee) and Hae Sung (brought to life by the charismatic Teo Yoo). Their paths cross as childhood crushes in the vibrant backdrop of South Korea, only to be torn asunder when Nora relocates to Canada at the tender age of 12.
“Past Lives” beckons us to revisit Nora and Hae Sung at 12-year intervals, unfolding a story that encompasses a rekindling of their connection through the digital realm and a poignant in-person reunion after Nora’s migration to the bustling streets of New York, where she ties the knot with a fellow wordsmith. It’s during this cinematic journey that Song, with a deft touch, transports us to a different temporal dimension, evoking emotions with a wordless eloquence that can effortlessly unleash a torrent of tears.
Months after immersing ourselves in this cinematic tapestry, we find ourselves still needing to brace our emotions when inquiring of Song, the film’s gifted writer-director, whether this pivotal moment was always etched within the script (indeed, it was). We yearn to grasp the intricacies of how it manages to wield such precise emotional impact. Song, with characteristic humility, attributes this achievement not just to her own creative prowess but also to the collaborative brilliance of her production designer, Grace Yun, and cinematographer, Shabier Kirchner, who meticulously choreographed the scene’s logistics.
Yet, beyond the technical intricacies of production, Song warmly delves into the quiet yet profound essence of her film. At times, “Past Lives” takes on an almost science-fiction quality, navigating the currents of time with a cosmic yet profoundly relatable sense of destiny. It reminds us of the extraordinary power we all possess—the ability to glimpse into another chapter of a person’s life, transcending the confines of time and space.
In the words of Song herself, “We all have this amazing power to see another part of a person’s story in a different time or space.”
“The immutable laws governing the physics of time and space,” she articulates, her words resonating in the hallowed halls of New York’s cherished A24 indie studio, where we sit across from one another. An assembly of DVDs and Blu-rays envelops us, meticulously arranged in chronological release-date order, eloquently encapsulating A24’s illustrious decade-long journey through cinematic triumphs. (Our initial exchange upon entering this room was a shared moment of awe at this meticulous sorting system.) With unwavering eye contact—a trait swiftly becoming her trademark—Song delves further into her thoughts.”As we navigate the endless tapestry of time and space,” she muses, “we find ourselves tethered to its relentless flow, just like everyone else. Yet, hidden within the fabric of existence, there exist elusive instants when we possess the power to defy its constraints. We can ascend beyond its limits or descend into its depths, perhaps even take flight above its steady march—all by invoking the cherished visage of a childhood companion.”
She continues, her gaze resolute: “Though I may not have had the privilege of knowing you at the tender age of twelve, imagine for a moment, if I were to approach someone who did and inquire, ‘Could you ever have fathomed?He used to be 12 years old,’ instantly, that person would be transported back to that time, envisioning you as that 12-year-old. It’s a remarkable power we all possess—to glimpse another facet of a person’s narrative, existing in a different time or space.” She’s absolutely right, and the mere mention of it sends shivers down our spines.
Indeed, “Past Lives” is poised to send shivers down the spines of many viewers. In the United States, it has evolved into an enduring arthouse sensation, offering a sophisticated alternative to the typical summer blockbuster fare. (Audiences in the UK will have to wait until September 7 for their turn.) The film has recently achieved a remarkable feat, outlasting the Spider-Man animated epic “Across The Spider-Verse” to claim the title of the longest-running current theatrical engagement in New York City. With an impressive streak of 14 weekends and counting at the beloved Angelika cinema in the picturesque West Village—situated miles away from where Song once called home—the film’s impact is palpable.
With an infectious enthusiasm, Song exclaims, “I absolutely love that it’s still running throughout the day!” She’s alluding to the astonishing truth that “Past Lives” reigns supreme on the cinema marquee, occupying an entire screen’s worth of showtimes, a solitary monarch amidst a sea of contemporary releases, proudly standing alone in its glory. Although she hasn’t personally attended a screening with a paying audience, it doesn’t mean she’s oblivious to the details. She confides in a playful tone, “I indulge in this little ritual where I venture online to gauge the audience’s size and pinpoint their chosen seats. It’s almost as if I’m orchestrating the seating arrangement and witnessing the theater come to life,” she admits with a grin. “I find inexhaustible joy in those moments when a mere handful of solitary souls lose themselves in the film’s embrace, or when a cluster of couples weave their experiences together in a tapestry of shared wonderment.” You might gaze at the 9:50 am showing and spot just one person here and another there. That’s incredibly special to me! I wonder if they strike up conversations afterward or perhaps they simply part ways, never to meet again…”
Much like Nora’s journey in the film, Song’s life path also traversed continents. Born in South Korea, she embarked on a transformative journey, relocating to Canada at the tender age of 12, eventually finding herself amidst the bustling energy of New York City as a graduate student and, later, a prolific writer. Her artistic roots run deep, with both her parents—her mother, an illustrator and graphic designer, and her father, a filmmaker—immersed in creative pursuits. She initially contemplated courses in both film and theatre before ultimately deciding on playwrighting at Columbia University. Interestingly, her passion for theatre didn’t lead her into the world of cinema; she was already a fervent movie enthusiast during her upbringing in suburban Toronto.
Song wistfully delves into her cinematic nostalgia, her eyes dancing with a touch of mischief. “Ah, the fervor of youth, where an insatiable hunger for the extraordinary in cinema takes hold,” she muses, reflecting on her formative years. “Back then, I was wholeheartedly captivated by films like ‘Equilibrium,'” she adds, invoking Christian Bale’s mesmerizing ‘gun kata’ performance from the 2002 sci-fi action flick.
Her enthusiasm doesn’t stop there. She continues, “And then, there were the classics like ‘The Matrix,’ ‘The Godfather,’ or ‘Pulp Fiction,'” her voice laced with nostalgia. However, in the end, it was Quentin Tarantino’s audacious World War II masterpiece, “Inglourious Basterds,” that kindled the flames of her cinematic ambitions. “The audacious irreverence of it all felt like a fresh gust of wind, an exhilarating eruption of freedom,” she shares with a gleam in her eye. “As I watched, it struck me like a lightning bolt: ‘You have the power to do that. You can rewrite history, toss its gravity aside, and set it all ablaze in a blazing inferno!'”
While Nora’s character in “Past Lives” doesn’t partake in Tarantino-esque reverie, the temptation to draw parallels between the character and her creator is undeniable, given their shared backgrounds. Song openly acknowledges that the film draws deeply from her own life experiences. She vividly describes the transformative journey of turning these deeply personal encounters into a work of art.
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“The journey begins with a profoundly subjective ignition—a flame that burns deeply intertwined with the tapestry of my own life,” she begins, her words carrying the weight of her artistic process. “And yet, from this intensely personal spark, it undergoes a metamorphosis, emerging as a script—a creation that stands entirely objective in its existence. You don’t pause to ponder the structure of your life, or the intricacies of your own character and storyline; you simply live your life! So, it’s the process of transforming something profoundly subjective into an objective form.”
As she delves into the collaborative world of filmmaking, she hastens to underscore the pivotal role played by actors and a myriad of other contributors—hundreds of them—whose creative energies shape the project. And as the film takes shape, it continues to evolve when presented to an audience. “It’s a remarkable odyssey to observe it reclaim its subjectivity,” she concludes, her eyes reflecting the joy and wonderment that this creative journey brings.
One of the most remarkable aspects of “Past Lives” is its astute portrayal of our digital age, all without casting judgment on our modern state of connectivity or romanticizing the 21st-century digital landscape. Nora and Hae Sung’s relationship, in all its complexity, is undeniably influenced by technology while retaining its fundamental essence. It’s no surprise to discover that Song has held a longstanding fascination with digital media. In the early months of the COVID-19 pandemic, she received a commission from the New Theater Workshop to craft an online performance. Inspired by her fascination with observing gamers engaged in intense livestream battles, she embarked on a production of Anton Chekhov’s 19th-century masterpiece, “The Seagull,” set within the life-simulation game “The Sims.” “I always felt that ‘The Sims’ was a Chekhovian game,” she remarks, drawing a parallel between the mundane daily routines of game characters and Chekhov’s concise realism, which often places character above plot. “In their every undertaking, they embark on a soulful odyssey, seeking the elixir of vitality—an unrelenting chase for the most tantalizing and extraordinary flavors and encounters that life has to offer.
Song’s affinity for “The Sims” hints at her unique blend of openness to the internet’s digital realm and a keen memory of a pre-digital era. “I find myself nestled snugly in that generational sweet spot,” she elaborates.”As a child of the year 1988, I embarked on my journey through formative years at a juncture when the privilege of internet access was a far cry from being assured.” It was a transition—you went from being someone who didn’t have the internet to someone who did. So, I can relate to and engage with individuals who embrace analog life, yet I also know how to converse with those fully immersed in the digital world. I think it’s a magical aspect of being born around this time, and I believe it’s true for many millennials.”
“Past Lives” masterfully weaves the quintessential millennial narrative of digital transition without drawing undue attention to it. At its core, it remains a story about two individuals, albeit one that doesn’t neatly fit the mold of a conventional love story. Song astutely points out that this nuanced quality is precisely what prompts the film to explore the Korean concept of “in-yeon”—the belief that we encounter certain people in multiple lifetimes, and those we engage in romantic relationships with are those we’ve encountered repeatedly across these various existences. Even though Hae Sung may know very little about Nora all these years later, Song articulates that he understands her in a unique way that her husband cannot access. Their tentative reconnection is less about a traditional reunion and more akin to a resurrection.
Engaging in conversation with Song about these themes feels oddly reminiscent of revisiting her movie. It’s not that she’s recounting scenes or reciting her own lines, but her infectious enthusiasm for the essence of her work creates an atmosphere akin to experiencing the film anew: a heightened awareness of how our memories mold our perception of time. This perspective becomes evident when she reflects on something as simple as an old haunt or a former apartment long after parting ways with it: “In every meaningful sense, it’s probably gone, but it lives on within me. This can make you feel powerless in some respects, but you can also view it as an incredibly potent force. It’s eternal, it’s everlasting. Everything can vanish, and you may cease to exist, but the experiences you’ve had within it endure forever.”
For the present, Song’s aspirations are firmly rooted in her current field. “I want to continue crafting films,” she asserts, characterizing her present success as a honeymoon phase that fuels her creative spirit. She refrains from divulging specifics about her next project after “Past Lives,” instead offering a hypothetical scenario: “Perhaps, 20 years from now, when we’re discussing my 10th or 20th film, I might say, ‘Remember when we first met?’ And I’ll see you right here. That’s the remarkable thing about how we can traverse time and space.” Just like that, she elucidates how a seemingly modest, dialogue-driven film can encapsulate the boundless expanse of the universe.
“Past Lives” is set to grace UK cinemas, courtesy of StudioCanal, as of September 7th.
