In the opening scene of Past Lives, we find three individuals seated together in a New York bar — a man and a woman, both of Asian descent, are engrossed in conversation while a white man is observing them quietly. We hear those at the adjacent tables speculating about their relationship, pondering if the Asian man and woman are a couple or siblings, and whether the white man is romantically involved with the Asian woman.

This intriguing setup serves as the entry point into a deeply personal narrative crafted by writer-director Celine Song. The film follows Na Young (Greta Lee) and Hae Sung (Teo Yoo) — whose friendship began as schoolmates in South Korea — at different stages of their lives. When her family moved to Canada, Na Young became Nora, pursuing playwriting in New York, while Hae Sung stayed back in South Korea. Later, Nora and Hae Sung reconnect on social media, forming a tender bond. However, Nora’s dedication to her career — she aspires to win the Nobel Prize in literature — hinders the possibility of a romantic relationship between them.

When they meet again in New York 24 years after, Nora is married to a writer named Arthur (John Magaro) although Hae Sung continues to yearn for her. Nora is now torn between her past and present, and their lives remain intertwined through the undercurrent of emotions they share. For Nora, Hae Sung represents her roots and childhood memories, while for Hae Sung Nora has always been someone special — someone he admires in silent wonder.

They discuss the Korean concept of ‘inyun’, derived from Buddhism, which suggests that encounters between souls are the result of countless interactions in past lives. They ponder what the future might have been if Nora, or rather Na Young, had not left South Korea. Perhaps they would have married; or, perhaps their feelings are intense only because they couldn’t be together?

The power of Past Lives lies in its ability to convey intimacy and invite the audience to read between the lines, leaving a lot unsaid. Cinematographer Shabier Kirchner captures these subtle moments and the palpable silences that Nora and Hae Sung share.

Russian Doll actress Greta Lee lends Nora a mix of uncertainty and grit, bringing out Nora’s confidence as a successful artist as well as her struggles with identity in the West. Teo Yoo delivers a heartrending performance as the reserved Hae Sung, who has faced personal and professional disappointments in Seoul and longs for the kind of connection with Nora that may never fully materialise. Magaro’s portrayal of Arthur adds a touch of humour.

What makes Past Lives truly moving is the grace with which these three characters handle their awkward situation. Director Song wins by not resorting to the cliched hero-villain dynamic, and instead urging us to grasp what keeps Nora and Hae Sung apart and also what binds them together, possibly for eternity.