Past Lives (2023)
Country: US/KOR
Technical: col 105m
Director: Celine Song
Cast: Greta Lee, Teo Yoo, John Magaro
Synopsis:
Childhood sweethearts in Seoul are separated when the girl's family moves to America. Twelve years later, a chance social media search brings them together again, but it is another twelve years before they meet in person.
Review:
Suffused with a very Eastern fatalism, this touching film divides our loyalties between divergent outcomes by keeping its feet firmly on the ground. It captures more than most films of its kind that profound durability of first love, the power of the might-have-been, that the philosophy of In-Yun attempts to counter. It is also very Korean in its primacy of the human face over dialogue, and with only three characters occupying most of the film that is a burden the cast shoulders admirably well.
Country: US/KOR
Technical: col 105m
Director: Celine Song
Cast: Greta Lee, Teo Yoo, John Magaro
Synopsis:
Childhood sweethearts in Seoul are separated when the girl's family moves to America. Twelve years later, a chance social media search brings them together again, but it is another twelve years before they meet in person.
Review:
Suffused with a very Eastern fatalism, this touching film divides our loyalties between divergent outcomes by keeping its feet firmly on the ground. It captures more than most films of its kind that profound durability of first love, the power of the might-have-been, that the philosophy of In-Yun attempts to counter. It is also very Korean in its primacy of the human face over dialogue, and with only three characters occupying most of the film that is a burden the cast shoulders admirably well.
Country: US/KOR
Technical: col 105m
Director: Celine Song
Cast: Greta Lee, Teo Yoo, John Magaro
Synopsis:
Childhood sweethearts in Seoul are separated when the girl's family moves to America. Twelve years later, a chance social media search brings them together again, but it is another twelve years before they meet in person.
Review:
Suffused with a very Eastern fatalism, this touching film divides our loyalties between divergent outcomes by keeping its feet firmly on the ground. It captures more than most films of its kind that profound durability of first love, the power of the might-have-been, that the philosophy of In-Yun attempts to counter. It is also very Korean in its primacy of the human face over dialogue, and with only three characters occupying most of the film that is a burden the cast shoulders admirably well.