Greta Lee

Teo Yoo

John Magaro

Moon Seung-ah

Yim Seung-min

Yoon Ji-hye

Choi Won-young

An Min-young

Seo Yeon-woo

Chang Ki-ha

Shin Hee-cheol

Park Jun-hyuk

Jack Alberts

Jane Yubin Kim

Song Noo-ri

Jin Si-ah

Choi Yoon-seo

Hwang Seung-eon

Jojo T. Gibbs

Emily Cass McDonnell

Federico Rodriguez

Conrad Schott

Kristen Sieh

Oge Agulué

Chase Sui Wonders

Isaac Powell

Jake Pinckes

Christine Vachon

Pamela Koffler

David Hinojosa

Celine Song

Shabier Kirchner

Keith Fraase

Alan Lampert

Joanne Ling

Katina Danabassis

Aaron Becker

Yale Chasin

Geraldine Schubert

Antje Ellermann

Sky Theis

Kali Riley

Adam Russell

Naima Noguera

Hallie Arias

Aaron Brown

Ben Noftzger

Sait Velovic

Earl Hall

Mark Kurtz

Charles Carter

Mike Cardenas

Dajuan Walker

Dennis Yi

Helena Darku

Nicholas J. Miceli

Ruby Ling

James Cage

Michael Staffieri

Lisa Harlow-Powell

Andrew Hubbard

Alex Echevarria

Sarah Blevins

Chuck Morris

Scott DeAngelo

Brian De la Cruz

Josh Pressgrove

Doug Pearson

Daniel Green

Holli Porreca

Jake Sofaer

Shamus Lobene

Risto Kramer

Ryan Coleman

Justin Holt

Greg Booth

Danny Deblasio

Josh Scherl

Kyle Keegan

Alexandra Nagle

Adele Davis

Anthony Vitale

Brett Heidenreich

Eli Henslee

Jaclyn Silvestri

Jonathan De Silva

Mike Toledo

Nick Sypniewski

Sam Clark

Andrew Decoursey

Beba Zilkic

Carly Drabeck

Ella Doran

Joe San Augustin

Justin Pfeiffer

Miranda Cuellar

Roman Caposino

William Weinig

Natasha Badiyi

Bao Nguyen

Ivo Huahua

Kir Jordan

Taylor Graham

Gail Quintos

Patrick Barker

Ryan Gertsen

Joseph Talerico

Glenn Gertsen

Daniel Moss

Tyler Wagner

Emily Gaunt

Hannah Guerrero

Alex Larson-Walker

Corey Eisenberg

Mia Nicolini

Sara Moneymaker

Amber Subelka

Kevin McCabe

Oakley Wariner

Sam Ventola

Marko Costanzo

George A. Lara

Krissopher Chevannes

Lauren Moriarty

Sienna Jeffries

Elizabeth Hay

Drama

Romance

Past Lives

Killer Films

CJ ENM

South Korea

United States of America

Brent Marchant

As the son of parents who were childhood sweethearts/soul mates, I tend to be a sucker for movie romances that address this subject. In this case, however, the only “sucker” aspect applies to the money I plunked down to watch this two-hour snoozefest. Writer-director Celine Song’s debut feature has been praised as a masterful piece of filmmaking and one of the best pictures of 2023, but I heartily beg to disagree. When a pair of young, tightly knit Korean friends, Nora (Greta Lee) and Hae Sung (Teo Yoo), part ways from their native Seoul and are later reunited in New York after a 24-year separation, the reunion of these childhood pals provides them with an opportunity to reflect on what might have been. However, their time together consists mostly of a series of overly bloated pregnant pauses, inane dialogue and missed chances to discuss much of anything meaningful, the kinds of scenes that make even the most patient viewers want to yell “Get on with it already!” These “conversations” come nowhere close to matching their joy of their spirited youthful interactions or the heartfelt, substantive talks that later take place between Nora and her husband, Arthur (John Magaro). The result is, quite frankly, a big fat bore that’s trying to be more than it is but never achieves that outcome. Perhaps the biggest problem with this is the film’s truly sincere but decidedly paper thin narrative that doesn’t have the writing support to bring it all into beautiful full bloom, despite some fine performances, exquisite cinematography and an emotive background score. From this, the director would appear to have a hefty reserve of potential stashed away, at least based on this offering’s stylistic elements, but the substance could use some definite shoring up. Let’s hope her next effort lives up to that.

Wow. For a director, Celine Song, just coming out of the gate, this is quite an impressive film. The lead actress, Greta Lee, fit the role like a soft leather glove, which speaks volumes, both for her talent, and for Song's casting. Lee's Hollywood Critics Association Best Actress award is well-deserved.

Song wrote an excellent screenplay, and her direction turned it into a stunning film. Kudos to A24 for taking a chance on her. I presume they are happy with the outcome. It's rather interestingly paced in a Buddhist or Asian kind of way - slow, meditative, and more is shown than is said. Overall, it's not a perfect film, but it's close.

This isn't precisely a coming-of-age movie, but the plot revolves around that (perhaps even more difficult,) developing period between the ages of 20 and mid-30s. I've held a long-standing belief that our life chapters change every seven years. You know: there are seven chakras, seven days in a week, the Seven Sisters (Pleiades), or whichever mystical seven you'd like. Over the course of three of these "theoretical" chapters, this movie focuses on two relationships in the protagonist's life, from roughly twenty-one (7*3) to approximately forty-two (7*6). She was married at about the time of a chapter shift (7*5), as if to validate my weird belief. In my world, it all makes sense.


This movie is certainly somewhat autobiographical, even by Song's own admission. It will be added to my Directors About Themselves list. I can't wait to see Celine's next project!

CinemaSerf

"Na Young" (Moon Seung-ah) and her best pal "Hae Sung" (Leem Seung-min) are pretty much joined at the hip at school. They do everything together. That is, until her family decide that they are going to emigrate to Canada. The young lad is a bit bereft, he doesn't really understand and he certainly doesn't approve! Anyway, off they go and after quite an hiatus, she discovers that he had tried to get in touch previously and so she now gets in contact. Now called "Nora" (and played by Greta Lee), she has married "Arthur" (John Magaro) and moved to NYC, but as they continue to chat online they gradually rebuild their friendship so that a visit from Korea to the USA seems the natural next step. What now ensues are a poignantly constructed series of reminiscences that extol the virtues and innocence of their childhoods but also illustrate how different they have become - even while the underlying bedrock of her relationship with him (and, for that matter with her husband) is probably just as solid - though not in quite the same way. There's a bit of pining, a bit of regret - but the film also fairly optimistically looks at where their lives have got to, and also of where their lives have yet to go. The acting isn't really much to write home about, though Magaro delivers well as the gooseberry. He doesn't speak much Korean and so the chats with their visitor frequently leave him in a sort of nervous, but polite, limbo. There are a few films around just now that focus on reconciliation of those separated by migration when South East Asia was still recovering from post war/French colonial rule - and this one is certainly one of the more interesting and honest. It's not without the odd bit of humour either - and is well worth a gander.

An american A24 very adult romance and drama movie that gets in you little by little, slow burning with a gentle flame and involves more than just love, but personal choices and fate too.

Compared to a lot of romances this one is very real, and tells the story of two korean child, that lives closely together in their 12yo in sort of a "proto-date" till she emigrate to Canada and then US, already searching better changes at what she planned to do as a job (writing).

Jump 12 years later accidentally she discovers that he was looking for her, and they start to chat online together, and the old fire starts to ignite again... till the day she says with a broken heart that because neither of them can see each other too soon and because she need to focus on her work they should to stop talking for a while.

A while that passes in another 12 years and she gets on her life in America even marrying another writer aspirant while he gets a girlfriend. Then he decides to come visit her in NYC (that's shown in the very start (2min) of the movie, watch closely for the details in expressions that this tells so much) .

A great strat for Celine Song at her debut on the big screen (as director and screenplay) and great performance of Greta Lee.

An 9.5 out of 10.0 / A+ for me - most real than 80% of the ommances that you see around. Got a nomination for Academy on original screenplay and best Movie but should get more categories imo.

Celine song directed this wonderful and emotionally complex film about holding on to the past no matter how fleeting it is.

Ha Young is a young girl living in Korea. She has a crush on a boy at school named Hae Sung.

The time comes when her family is immigrating to Canada. It is devastating to young Hae, who is going to miss his friend.

Twelve years go by and Ha is now living in New York City and goes by the name of Nora. One day while browsing the internet she looks up Hae out of curiosity. She contacts him and learns that he has also been looking for her. They talk online for awhile, but Nora worries that the time is being taken away from what she should be doing. They stop communicating. 

Another twelve years passes and Nora is now married to Arthur, a writer. Hao contracts her out of the blue and says he is coming to New York and wants to see her.

The scenes when he arrives are golden.  The dialogue and conversation and hidden innuendo are flawlessly displayed.

They have so much to say to each other, yet so much is not said.  It boils under the uneasy surface.

The final moments of the film are devastating, but not in the way you might expect. It leaves a longing and emotional feeling that is hard to pinpoint.

"Past Lives" soars as one of the years best films and in my opinion should not be missed.

<em>'Past Lives'</em> - quality!

It's an engaging watch, I was invested in the two main characters throughout. It does get, by design, extremely awkward at a certain moment towards the end, as I was squirming in my seat; shows how well made it is. Greta Lee and Teo Yoo are excellent, John Magaro plays his more minimal part well too.

I don't have much else to note, it's simply an impressively made movie.