I suppose "Past lives" could arguably be characterized as "minimalism", but it is more than that. While there is not one signal moment of emotional flare, the characters' emotions are warmly palpable. And you will be hard-pressed to find another film in which the scenes flow so effortlessly, seamlessly one into another. The subject matter is, well, ordinary. In fact one character describes himself as completely "ordinary". What is so extraordinary about this movie is the beautiful writing and the even more beautiful interpretation of the writing.
"Past lives" start with a sort of prologue, very ordinary scene of three people sitting at a bar, and cryptic VO dialogue of other patrons whom we never see, just plot devices. They wonder about the relationship of the trio, two Koreans, man and woman, and a white guy (who later in the movie is known to be Jewish). Are the Koreans a couple, or are they siblings? How is the white guys connected with them. Maybe they are just three colleagues releasing pressure after burning midnight oil.
After this prologue, the movie is divided into 3 distinct time frames marked with clear on-screen text "24 years before", "12 years past" and another "12 years past".
Flashback 24 years show two 12-year old classmates Na Young and Hei Sung, with what we assume to be puppy love crushes for each other. They went as far as lacing fingers in the back seat of one of the parent's cars. When Na Young immigrated to the US with her parents, the parting was not one of wailing heartbreaking, but rather resignation to a whiff of sadness, with composure to be admired in these two pre-teen kids.
When the on-screen text announcs "12 years pass", Na Young is no longer Na Young (except to her mother) but Nora, a young writer working hard in Manhattan, hoping for her break. Hei Sung carries on with his "ordinary" life in South Korea, pursuing a career in engineering. Then, they find each on Facebook. Occasional face-to-face real time chats soon become addictive. This connection finally sees what you might call a natural demise. Possibility to travel to see each other is not within a two year horizon. This hurts him more than her. His relationship with his girlfriend is unstable. She meets, in an idyllic resort for writer, a young Jewish fellow-writer. Arthur (John Magaro, excellent and not given enough credit by critic) is kind, gentle and level-headed. While Hei Sung sinks deeper into the melancholy of unfulfilled childhood love, Nora moves forward into the next chapter of hers. She marries Arthur and the couple moves to New York, renting a tiny apartment, to follow their dream of one day becoming a successful writer.
Another "12 years pass". Nora and Arthur are healthily in love, totally committed to each other, although there are sporadic doubts about the progress in their careers. Hei Sung, on the other hand, is drifting in his ordinariness. He does have a girlfriend but their relationship is a rocky road. Then, he decides to make a trip to New York. Whatever the pretext, he wants to see Nora. She knows. Even Arthur knows.
It is more than obvious that the movie works towards these final scenes. Nora and Hei Sung meet up as she shows him around Manhattan. This is where Lee and Yoo showcase their subtle brilliance with nuances, facial expressions and body language. Oh, they deliver the dialogue beautifully too. There is love, friendship. Regret is diluted with the belief that this is perhaps their destiny, influence by their past lives.
At the end of this brief trip, Hei Sung visits the couple at their tiny apartment to meet Arthur. The trio then goes out for pasta (his response to Arthur's "what would you like to eat"?) and then a drink. The scenes circle back to the opening "prologue". Each of the three is as natural as you would expect. Arthur fully appreciates the situation, allowing space for the two childhood sweethearts to converse in Korean. The bonus to the audience is the scene between the two men (when Nora goes to the powder room), ever so gently touching. The parting scene when she accompanies him in waiting for his Uber, while predictable, is bitter-sweet poignancy that you would love. To top it off is the final scene that warms your heart.
"Past lives" start with a sort of prologue, very ordinary scene of three people sitting at a bar, and cryptic VO dialogue of other patrons whom we never see, just plot devices. They wonder about the relationship of the trio, two Koreans, man and woman, and a white guy (who later in the movie is known to be Jewish). Are the Koreans a couple, or are they siblings? How is the white guys connected with them. Maybe they are just three colleagues releasing pressure after burning midnight oil.
After this prologue, the movie is divided into 3 distinct time frames marked with clear on-screen text "24 years before", "12 years past" and another "12 years past".
Flashback 24 years show two 12-year old classmates Na Young and Hei Sung, with what we assume to be puppy love crushes for each other. They went as far as lacing fingers in the back seat of one of the parent's cars. When Na Young immigrated to the US with her parents, the parting was not one of wailing heartbreaking, but rather resignation to a whiff of sadness, with composure to be admired in these two pre-teen kids.
When the on-screen text announcs "12 years pass", Na Young is no longer Na Young (except to her mother) but Nora, a young writer working hard in Manhattan, hoping for her break. Hei Sung carries on with his "ordinary" life in South Korea, pursuing a career in engineering. Then, they find each on Facebook. Occasional face-to-face real time chats soon become addictive. This connection finally sees what you might call a natural demise. Possibility to travel to see each other is not within a two year horizon. This hurts him more than her. His relationship with his girlfriend is unstable. She meets, in an idyllic resort for writer, a young Jewish fellow-writer. Arthur (John Magaro, excellent and not given enough credit by critic) is kind, gentle and level-headed. While Hei Sung sinks deeper into the melancholy of unfulfilled childhood love, Nora moves forward into the next chapter of hers. She marries Arthur and the couple moves to New York, renting a tiny apartment, to follow their dream of one day becoming a successful writer.
Another "12 years pass". Nora and Arthur are healthily in love, totally committed to each other, although there are sporadic doubts about the progress in their careers. Hei Sung, on the other hand, is drifting in his ordinariness. He does have a girlfriend but their relationship is a rocky road. Then, he decides to make a trip to New York. Whatever the pretext, he wants to see Nora. She knows. Even Arthur knows.
It is more than obvious that the movie works towards these final scenes. Nora and Hei Sung meet up as she shows him around Manhattan. This is where Lee and Yoo showcase their subtle brilliance with nuances, facial expressions and body language. Oh, they deliver the dialogue beautifully too. There is love, friendship. Regret is diluted with the belief that this is perhaps their destiny, influence by their past lives.
At the end of this brief trip, Hei Sung visits the couple at their tiny apartment to meet Arthur. The trio then goes out for pasta (his response to Arthur's "what would you like to eat"?) and then a drink. The scenes circle back to the opening "prologue". Each of the three is as natural as you would expect. Arthur fully appreciates the situation, allowing space for the two childhood sweethearts to converse in Korean. The bonus to the audience is the scene between the two men (when Nora goes to the powder room), ever so gently touching. The parting scene when she accompanies him in waiting for his Uber, while predictable, is bitter-sweet poignancy that you would love. To top it off is the final scene that warms your heart.