Rent Past Lives (2023)

Underwhelming - Past Lives review by JR

We never really know Nora, the protagonist, because we have to just accept, without evidence, her brilliance (aspiring to win a Tony), and because of her rather opaque, underdeveloped characterisation. Her callous treatment of the adoring Hae Sung, first neglecting to say goodbye to him aged 12, and again in her 20's abruptly ending a series of intense late night video calls filled with longing (on his part), makes her a rather unsympathetic character. There were slight echoes of Nora (is the name a coincidence?) Ephron's 'You've got Mail' and 'Sleepless in Seattle' but without the fizz and verve. The film is long and slow and offers little that's new in the 'What if/Unrequited love' romantic genre. The music is good and some of the cinematography is interesting.

Subtle & Emotional Romance - Past Lives review by GI

A romance about lost love and a film that asks What if?, a question amplified by the power of social media giving people the ability to reconnect. It also is suggesting, in my mind, that that is not always a good thing. Two young children live in South Korea and become friends and have a funny little date arranged by their mothers which leaves the boy thinking they are destined to be together. But then the girl's family emigrate to Canada and they lose contact. Years later and Nora (Greta Lee) is now living in New York, a budding writer, and through social media she gets in touch with Hae Sung (Tae Woo) and they begin speaking via Skype but Nora then feels the past is intruding in her future and cuts off the communication leaving Hae Sung feeling hurt and distraught. More years go by and Nora, now married to Arthur (John Magaro) , and Hae Sung reconnect again and this time he comes to the US for a visit. This opens up emotions and issues for all three of them. This is a simple and yet sophisticated relationship drama that looks at childhood crushes and their impact that can be exacerbated by the ability to connect very easily with persons from years ago and many miles away. This is a sad film in many ways and the narrative doesn't allow you to take sides as you'll see the heartbreaking issues that the three adults here struggle with. No one is being 'bad' or even unfaithful and the film opens up the debate about repressed feelings based on images and affections long since suppressed. In this it's a gentle and warm film and a love story for the modern age.

Thoughtful, bittersweet drama - Past Lives review by PD

Whether minor or major, the millions of decisions we make form the winding path of our lives, and specific reasons for taking certain forks in the road can often be lost to the sea of time. A not-quite-romance in three parts crossing nearly a quarter-century, playwright Celine Song’s directorial debut examines such universal experience with keen cultural specificity, telling the story of childhood friends who twice reconnect later in life. It’s a warm, patient film culminating in a quietly powerful, reflective finale.

It begins in Seoul, introducing Na Young and Hae Sung as primary school classmates forming a playful bond before the former’s family move to Canada. With no contact for 12 years, we then jump in time after Hae Sung finishes his mandatory military service and, per Korean tradition, moves back with his family as he begins engineering school. Na Young, now 'Nora' (Greta Lee - very good indeed), has meanwhile embarked to NYC to launch her career as an author in the midst of an MFA program. They reconnect thanks to the halcyon days of digital-chat Facebook, and so begins a flirtatious, long-distance relationship, although this section rather lacks emotional weight, being underwritten and simplified as if Song can’t wait to jump to the final, longest, and most rewarding section of her film.

This third part presents an opportunity for the childhood sweethearts to reconnect physically for the first time in 24 years. As the weight of what could have been hangs over, a wistful and bittersweet reunion commences, Song beautifully conveying the vast passage of time and how much the circumstances of our lives can change while we still carry the same yearning souls, their interaction fond yet distant as we witness two people now shaped by entirely different circumstances in their most formative years. This dichotomy is wonderfully realised by Song in both their cultural differences and ways their long, furtive glances say more than words ever could, as if every stare makes up for years of being apart. We're left with the question of whether Nora does actually have a connection with Hae Sung, someone she now barely knows, or whether is he just representative of life she never got to experience, the symbolic ghost of a country left behind.

Song delicately juggles such questions of identity and longing in a powerful moment at the film’s conclusion as our lead considers if the life she leads is 'meant to be'. While taking its title from the Korean belief of In Yun––wherein the connections people make in this life are actually the culmination of thousands of others from past lives––it’s joked at one point that this profound idea is often used as a seduction tactic for courting. That gentle sense of wit, mixing the philosophical and the personal, sums up the film's power. Rather than instilling anxiety in contemplating another path one could’ve taken, Song provides comfort by suggesting everyone’s journey is uniquely their own. Thoughtful work.