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A remarkable debut for writer-director Celine Song, Past Lives uses the bonds between its sensitively sketched central characters to support trenchant observations on the human condition.

Moving in its subtlety, Past Lives is a mature love story that feels powerfully real.

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Across continents and decades, 'Past Lives' is the most affecting love story in ages

Justin Chang

Teo Yoo and Greta Lee star as Hae Sung and Nora, childhood sweethearts who reconnect decades later in Past Lives. A24 hide caption

Teo Yoo and Greta Lee star as Hae Sung and Nora, childhood sweethearts who reconnect decades later in Past Lives.

Past Lives opens with a shot of three people sitting at a bar in New York — a man and a woman, both of Asian descent, chat with each other, while another man, who's white, looks silently on. We hear some people watchers offscreen casually wonder how these three are connected — are the Asian duo a couple, or are they siblings? Or is the white guy the Asian woman's boyfriend?

It's a nicely sardonic entry point into a story that's rooted in the writer-director Celine Song's personal experience. By the end of this exquisitely thoughtful and moving film, we've come to know and care deeply about all three of her characters, who are far more complicated than a snap judgment can convey.

Main Character of the Day

Greta lee on her new film's exploration of language and identity.

After that prologue, the movie flashes back 24 years to when the two Asian leads were young classmates in Seoul, South Korea. The girl is named Na Young, and the boy is named Hae Sung. They're close friends, practically childhood sweethearts, but everything is about to change: Na Young and her family are immigrating to Canada, and she and a quietly heartbroken Hae Sung lose contact.

Twelve years pass. Na Young — now going by Nora, and played by Greta Lee — is a 24-year-old aspiring playwright in Toronto. Hae Sung, played by Teo Yoo, is an engineering student in Seoul. They reconnect by chance on Facebook and are soon spending hours video-chatting on Skype: Even though they haven't talked in more than a decade, the old bond is still there, maybe stronger than ever. But realizing that her renewed friendship with Hae Sung is distracting her from her life in Toronto, Nora decides they should cool it for a while.

It'll be another 12 years before they talk again, and by the time they do, Nora is living in New York and married to a fellow writer named Arthur — and yes, he's the white guy from the opening scene, played by John Magaro. One day Hae Sung tells Nora that he's coming to New York for a visit and would like to see her, sparking a conversation in which Arthur says, "the guy flew 13 hours to be here. I'm not going to tell you that you can't see him or something."

Greta Lee, John Magaro, Teo Yoo in Past Lives. A24 hide caption

Nora and Hae Sung do meet a few times, visiting the Brooklyn Bridge and riding a ferry boat around the Statue of Liberty — a resonant image for this immigrant story. Their mix of sightseeing and soul-searching might remind you at times of Richard Linklater 's Before trilogy, another talky, decades-spanning, continent-jumping love story.

Past Lives is both achingly romantic and earnestly philosophical. More than once Nora and Hae Sung use the Korean term inyun , a Buddhist-derived concept which suggests that every meeting between two souls is the product of countless interactions or near-interactions in their past lives. They muse about what might have happened if Nora — if Na Young — had stayed in Korea. Maybe she and Hae Sung would have gotten married. Or maybe not; maybe it's only because she left that their feelings for each other are so powerful now.

The two leads are wonderful. Greta Lee, from the series Russian Doll , reveals Nora's uncertainty but also her strength. She hints at both the confidence Nora's gained from her life as a successful artist and the identity confusion she sometimes experiences living in the West.

Teo Yoo is quietly heartbreaking as the more reserved Hae Sung, who's faced personal and professional disappointment back in Seoul and clearly longs for something with Nora that can probably never be. And the emotional stakes kick up several notches when Nora and Hae Sung go out one night with Arthur, bringing us to back to that scene in the bar. Magaro plays Arthur as a bit of a goofball, but also as a decent, understanding guy who at one point amusingly refers to himself as "the evil white American husband standing in the way of destiny."

'Platonic' is more full-circle friendship than love triangle, and it's better that way

What makes Past Lives so moving in the end is the grace that all three of these characters extend to one another in an awkward situation with no heroes or villains. You've seen the more conventional romantic-triangle version of this story, but Song isn't after melodrama; she wants us to see what's keeping Nora and Hae Sung apart, but also what's binding them, possibly for eternity.

Past Lives , which compresses two decades into barely two hours, is the most affecting love story I've seen in ages. It ends with a curiously hopeful image, focused less on the characters' past regrets and more on the infinite possibilities still ahead.

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Critic’s pick

‘Past Lives’ Review: Longing for a Future

Celine Song’s film debut, starring Greta Lee, follows two childhood friends who share a wistful kind of love across two decades and two continents.

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A man in a blue shirt and a woman in a white blouse look at each other longingly in a subway car.

By Manohla Dargis

“Past Lives” is a wistful what-if story about two people, the children they were and the adults they become. The movie follows them through the years and across assorted reunions, separations and continents as well as milestones momentous and ordinary. It’s a tale of friendship, love, regret and what it means to truly live here and now. In a sense it is a time-travel movie, because even as the two characters keep moving forward, they remain inexorably tethered to the past, which means it’s also a story about everyday life.

“Past Lives” centers on Nora (played as an adult by a terrific and subtle Greta Lee) and a boy named Hae Sung (Teo Yoo), though mostly it’s about her. The two first meet as schoolmates in their home city, Seoul. They’re charming — they’re children — and close. “He’s manly,” Nora, then called Na Young, tells her amused mother. “I will probably marry him.” Soon after the movie opens, the kids are walking home shoulder-to-shoulder, her eyes downcast. He’s received higher marks at school, which, in a portent of her later-life ambition, has upset her. Hae Sung comforts her because he’s a nice boy; he will become a nice man, but by then she will be long gone.

This is the filmmaking debut of the Korean-Canadian-American playwright Celine Song (“ Endlings ”), who also wrote the script. Its narrative shape is fairly familiar: It opens in the present and then flashes back 24 years to when Nora was a girl in pigtails whose family was about to immigrate to Canada. In unfussy, naturalistic scenes and with onscreen text that marks the passage of time, Song follows Nora and Hae Sung as they go their different ways and reunite online a dozen years later as young adults. After a brief virtual reunion, they part ways. Another 12 years pass and they reconnect a second time.

The movie’s modesty — its intimacy, human scale, humble locations and lack of visual oomph — is one of its strengths. The characters live in homes that are pleasant yet ordinary, the kind that you can imagine hanging out in, the kind you want to hang out in. There are few big, look-at-me details, though you might notice a poster for Jacques Rivette’s 1974 classic “ Céline and Julie Go Boating ” in Nora’s father’s home office in Seoul. Without making too much of this cinephile allusion, there’s a moment in the Rivette that does seem germane: “Your future is behind you,” one character says to another, which could serve as a tagline for this movie.

Song draws you into her characters’ worlds seamlessly. As “Past Lives” develops, she toggles between Nora and Hae Sung at home and out and about, lightly sketching in how their everyday lives have developed. Even so, Nora — and Lee’s delicately calibrated performance — remains the movie’s gravitational center. By the time Nora is in her 20s, she is living in New York and has become a playwright. On a whim, she looks up Hae Sung on Facebook and discovers that he’s still in South Korea and has also searched for her. The two are soon regularly video chatting until Nora decides she needs to commit to her life in New York.

These scenes of Nora and Hae Sung reconnecting are pleasant, partly because Lee and Yoo are both nice to spend time with. But as the days give way to one night after another, this interlude can also feel drifty and even a little innocuous, almost like filler. That’s partly because although Yoo is awfully nice to look at, and while Song continues to add in details about Hae Sung’s life in South Korea, the character never takes deep root in the story the way that Nora does. For much of it, he is effectively a ghostly figure, a beautiful specter on a laptop screen whose open face hides very little, including Hae Sung’s vulnerability and yearning.

All this feels as specific, intentional and meaningful as the sight of different lovers embracing all around Nora and Hae Sung when, another 12 years later, they finally reconnect in person in New York. By then, each has settled into their respective lives, have separate histories, have made different memories. They have distinct personalities and ways of taking up space, and each has had a serious relationship, Nora’s with her husband, Arthur (John Magaro, wonderful). Like Hae Sung, Arthur has a sweet, transparent face that hides little, including the hurt that Nora sometimes causes him, one difference being that he actually lives with her.

It’s important to Song’s overall design that one of the most crucial and extended sequences in “Past Lives” takes place not long after Nora breaks off with Hae Sung when they’re young adults. She’s rocked by their encounter, but she is soon en route to a writers retreat, an emblem of the horizons first glimpsed in her girlhood. Here, for the only time in the movie, Song lingers over a physical space, in this case a handsome, sunlit country house, a home. Nora lingers too in these rooms, and shortly after she settles in, another writer — Arthur — follows. Song stages and shoots his arrival from Nora’s room, the camera pointing through the open window as she lies asleep in her bed. She misses Arthur’s entrance, but soon after, Nora emerges from her room, awake in a present that — for the first time — feels like the future.

Past Lives Rated PG-13. In English and Korean, with subtitles. Running time: 1 hour 46 minutes. In theaters.

Manohla Dargis is the chief film critic of The Times, which she joined in 2004. She has an M.A. in cinema studies from New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Teo Yoo and Greta Lee in Past Lives (2023)

Nora and Hae Sung, two deeply connected childhood friends, are wrested apart after Nora's family emigrates from South Korea. Twenty years later, they are reunited for one fateful week as the... Read all Nora and Hae Sung, two deeply connected childhood friends, are wrested apart after Nora's family emigrates from South Korea. Twenty years later, they are reunited for one fateful week as they confront notions of love and destiny. Nora and Hae Sung, two deeply connected childhood friends, are wrested apart after Nora's family emigrates from South Korea. Twenty years later, they are reunited for one fateful week as they confront notions of love and destiny.

Celine Song
John Magaro
518 User reviews
278 Critic reviews
94 Metascore
80 wins & 228 nominations total

Top cast 35

Young Hae Sung

Nora's Mom

Nora's Dad
Hae Sung's Mom
Young Si Young
Hae Sung's Friend #1
Hae Sung's Friend #2
Hae Sung's Friend #3

CBP Officer

Na Young's Childhood Friend 1
Na Young's Childhood Friend 2
Na Young's Childhood Friend 3
Hae Sung's Girlfriend
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Did you know

Trivia In an interview on 2 June 2023 on NPR with Ailsa Chang , Greta Lee indicated that she found it amusing that when she told her family and friends that she was taking this role, many of them were surprised and wondered if she could even speak Korean.
Goofs When the protagonist's family arrives at Canadian immigration, a French-language government sign reads "loresque" (instead of, correctly, "lorsque.")

Hae Sung : What if this is a past life as well, and we are already something else to each other in our next life? Who do you think we are then?

Connections Featured in WatchMojo: Top 10 Best Movies of 2023 (2023)
Soundtracks It's Not Love If It Hurts Too Much Written by Kim Kwang Seok Performed by Kim Kwang Seok Courtesy of STARWEAVE Entertainment By arrangement with Ingrooves Music Group

User reviews 518

What i learned from it.

elisavbizau
Dec 10, 2023
How long is Past Lives? Powered by Alexa
June 23, 2023 (United States)
United States
South Korea
Vidas pasadas
Madison Square Park, Manhattan, New York City, New York, USA (Nora and Hae Sung Meet in New York)
Killer Films
See more company credits at IMDbPro
$12,000,000 (estimated)
$11,185,625
Jun 4, 2023
$42,539,278
Runtime 1 hour 45 minutes
Dolby Digital

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Review: Spanning continents and decades, ‘Past Lives’ is a love story for all time

A man and woman sitting on the deck of a boat smile at each other.

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“Past Lives,” Celine Song’s gorgeously heady and heartfelt love story, opens with its own wry version of a “three characters walk into a bar” joke. At a warmly lit counter somewhere in New York City, a man and a woman, both of Asian descent, appear lost in conversation while a third man, who’s white, looks quietly on. We can’t hear what they’re saying, though we do hear two off-screen people-watchers — obvious, frankly annoying stand-ins for the audience — musing about how these three might be connected. Are the Asians siblings or significant others? Is the white man one-half of an interracial couple, or is he a tour guide?

Having been on the receiving end of similar questions and assumptions myself (why no, I’m not with the Asian dude standing behind me in line, why do you ask), I fell for “Past Lives” pretty much from the jump. You might, too, even if this playful prologue turns out to be its least typical scene. This achingly romantic and disarmingly thoughtful movie, a critical favorite at the recent Sundance and Berlin film festivals, does not strand us on the outside looking in. It invites us to hang out with its characters in their rooms and workspaces, eavesdrop on their calls and walk alongside them in New York or South Korea, which is where Song’s decades-spanning, continent-hopping fiction properly begins.

It suddenly whooshes us back to 24 years earlier, when the two leads — a girl, Na Young (Seung Ah Moon), and a boy, Hae Sung (Seung Min Yim) — are attending the same school in Seoul. They’re playmates, academic rivals and childhood sweethearts, as signaled by a lovely shot of them riding in the backseat of a car, Na Young sleepily resting her head on Hae Sung’s shoulder. In time Song will summon forth another image, studied but effective, of a fork in the road: Hae Sung walks down a drab-looking street to the left, while Na Young ascends the bright-colored stairs to the right. It’s the last time they’ll see each other for a while: Na Young is moving to Canada with her parents and younger sister, and before long her Korean childhood and her time with Hae Sung will have receded into memory.

That past life is one explanation for the movie’s title, although Song, a playwright making a beguilingly assured feature writing-directing debut, has a gift for tossing off fresh ideas and new meanings on the fly. And I do mean on the fly: “Past Lives,” folding two decades into less than two hours, is as swift and fleet as it is emotionally and philosophically expansive. Soon 12 years have passed (whoosh), and Na Young, once a shy girl with thick braids and a few words of English under her belt, is now Nora, an MFA candidate and aspiring playwright living in Toronto. (Played by “Russian Doll’s” remarkable Greta Lee, Nora is also a stand-in for Song, who drew this story from her personal experience.)

A man and a woman face a man sitting at a computer.

By skipping over Nora’s teenage and early adult years, Song elides a lot of details and short-circuits a lot of potential immigrant-experience clichés. Beyond an occasional phone chat with her mom (Ji Hye Yoon), Nora’s family is seldom in the picture; they’re part of her life, but they don’t define it. And apart from a later scene in which she acknowledges a not-uncommon sense of East-West cultural bifurcation, that identity confusion never becomes an obvious source of drama in itself. Refreshingly, Song doesn’t turn Nora into a mouthpiece for anyone’s experience but the character’s own. She also doesn’t pretend that her narrative approach, isolating three key time frames spaced a dozen years apart, can open more than a partial window into human experience.

All the movie can give us, really, is the same thing memory affords us: a handful of piercing, shimmering moments. When Nora and Hae Sung (Teo Yoo) reconnect by chance on Facebook — she casually searches for him, only to find that he’s been searching for her — a lot of those long-buried moments come surging back. Soon they’re spending hours on Skype, catching up and giving Nora’s rusty Korean a workout. (The elegant trans-Pacific cross-cutting is by editor Keith Fraase.) We learn about Hae Sung’s mandated military service, his engineering studies and his plans to learn Mandarin, his living situation with his parents and his general sense of inertia. We see, too, how closely bound he and Nora are even after 12 years apart, as their reminiscences about the past soon give way to musings about their future.

It’s Nora, realizing that she’s getting distracted from her life in Toronto, who puts that future on hold, asking a disappointed Hae Sung if they can take a break. And life being life, soon another 12 years have whooshed past, bringing the story into roughly the present day. By now, Nora is living in New York City with her husband of seven years, Arthur (John Magaro) — a marriage of green-card convenience that has, with an inevitability the movie scarcely needs to explain, become a union of love. By the time Hae Sung gets in touch and tells Nora he’s coming to New York for a visit, you can see the pieces of that barroom prologue being moved into position.

A man and woman sit on steps in front of a carousel.

You can also glimpse the contours of a romantic triangle, albeit one that resists every temptation toward melodramatic confrontation as it finally brings Nora and Hae Sung face-to-face. It’s not that Song isn’t interested in, say, her characters’ physical attraction to each other; it’s that she sees that attraction as inextricable from their emotional history, their cultural overlap and philosophical compatibility. For Nora, Hae Sung is at once a soulfully handsome face, a loving friend, a piercing reminder and maybe the one man on the planet who can begin to see her in her totality. And it’s in their reunion that “Past Lives,” without breaking its casual, conversational register, becomes something quite extraordinary.

New York plays its part: Nora and Hae Sung’s wanderings around the city — a stroll through Brooklyn Bridge Park one day, a ferry ride around the Statue of Liberty the next — offer up a succession of wistfully beautiful, effortlessly resonant images. (Shooting on 35-millimeter film, cinematographer Shabier Kirchner, who did such vibrant work on “Small Axe” and “Skate Kitchen,” works wonders with observational long shots and intimate close-ups alike.) With its mix of soul-searching and sightseeing, “Past Lives” at times suggests a condensed version of Richard Linklater’s temporally and geographically sprawling “Before … ” trilogy. At other moments, this study in lost time and constrained desire steals a glance in the direction of Wong Kar-wai. (I’m tempted to go further still and say that, as a meditation on Asian diasporic destinies, parallel realities and paths not taken, “Past Lives” suggests a quieter but more reverberant companion volume to “Everything Everywhere All at Once.” )

But Song’s voice is more than the sum of these possible inspirations and points of comparison. Crucially, Nora and Hae Sung’s conversations continually circle the Buddhist-derived concept of inyun , which suggests that every encounter between two individuals, however significant, is one thread in fate’s intricately patterned tapestry: the culmination of countless interactions or near-interactions over their past lives. And so the artificial symmetry of the story’s three-part, 24-year structure imposes a near-cosmic significance. Does this movie mark the culmination of a millennia-in-the-making love story? Or is it just the latest step toward some future, endlessly postponable consummation?

A woman and two men walking on a New York City street

The two lead performances hold this difficult question in a kind of exquisite balance, even as they anchor Song’s lofty conceits in a sturdy art-house naturalism. Lee, with her sharply planed and expressive features, capable of shifting from wonderment to skepticism in a heartbeat, suggests the learned assurance of someone very comfortable with change. Yoo’s performance, by contrast, is a pure, guileless distillation of longing. It’s telling that Nora, despite or perhaps because of the freedom she experiences as an artist, may be the greater pragmatist of the two, while it’s Hae Sung, self-identifying as an “ordinary,” traditional specimen of Korean manhood, who makes the movie’s boldest romantic gesture.

And where does all this leave Arthur? A lesser movie would have reduced him to a complication or, worse, a comic-relief cuckold, and the waves of laughter I heard at the movie’s Sundance premiere sounded, in some ways, like a response to that lesser movie. But Magaro, one of the finest actors now working in American independent cinema ( “First Cow,” “Showing Up” ), sidesteps those possibilities with perhaps the movie’s subtlest, trickiest turn. In his kindly gaze and gentle hands, Arthur, who initially comes across as a bad-boy literary posturer, is both bemused bystander and acutely sensitive soul. No less bound by inyun than Nora or Hae Sung, he responds to an impossibly awkward situation with decency and grace.

And it’s this grace that swirls like a ghost through “Past Lives,” enfolding all three central characters and investing their stories, or what little we see of those stories, with a rare and harmonious balance. This is at once the loftiest and the most grounded love story I’ve seen in some time, a movie that feels lingering and contemplative in the moment but is over as quickly (too quickly) as a drink with a long-absent friend. I won’t give away the lovely, optimistic final image (whoosh!), especially since “Past Lives” knows the very idea of endings is suspect. You leave this movie grateful to have lived alongside these characters to this point, and wondering about the infinite possibilities that lie ahead.

‘Past Lives’

In Korean and English dialogue Rating: PG-13, for some strong language Running time: 1 hour, 46 minutes Playing: Starts June 2 at AMC the Grove 14, Los Angeles; AMC Century City 15

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Justin Chang was a film critic for the Los Angeles Times from 2016 to 2024. He won the 2024 Pulitzer Prize in criticism for work published in 2023. Chang is the author of the book “FilmCraft: Editing” and serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Assn.

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