WEBVTT - From the Archive: Past Lives

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<v Speaker 1>Hey, film Spotters. The film Spotting archive has reviews, top

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<v Speaker 1>fives and more going back to two thousand and five.

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<v Speaker 1>This week, with Selene Song's Materialists new in theaters, we're

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<v Speaker 1>sharing our twenty twenty three review of Song's debut Past Lives.

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<v Speaker 2>Past Lives narrowly missed our top tens in twenty twenty

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<v Speaker 2>three out them, but we did both like it quite

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<v Speaker 2>a bit. From June twenty twenty three. Here's that review.

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<v Speaker 3>What a good story this says.

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<v Speaker 1>Childhood sweethearts to reconnect twenty years later and realized they

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<v Speaker 1>were meant for each other, and the story I would

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<v Speaker 1>be the eviloid American husband's standing in the way of destiny.

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<v Speaker 1>Shut up. We just can't get away from storytelling. Here

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<v Speaker 1>on this week's film Spotting, a bit from the trailer

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<v Speaker 1>for Past Lives, the feature debut from writer director of

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<v Speaker 1>Selene's Song. We have been hearing about this film, Josh,

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<v Speaker 1>since January, when it premiered at sun Dance to almost

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<v Speaker 1>universal acclaim. It was then picked up by A twenty

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<v Speaker 1>four for distribution. That's usually a good sign, and then

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<v Speaker 1>in May it was program is part of the Chicago

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<v Speaker 1>Critics Film Festival. More people we like and trust got

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<v Speaker 1>to see it and praise it. I will ask you

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<v Speaker 1>if it managed to live up to all the hype

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<v Speaker 1>in a second, but we will quickly set up the plot.

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<v Speaker 1>The clip you heard more or less tells you everything

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<v Speaker 1>you need to know. Twenty years or so after getting separated,

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<v Speaker 1>when one of them emigrates from Korea to Canada, two

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<v Speaker 1>former childhood sweethearts reunite, complicating things. The one that left

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<v Speaker 1>Greta Lee's Nora is happily married to John Mazarro's Arthur.

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<v Speaker 1>The long lost friend, Hey Sung is played by you Tail.

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<v Speaker 1>A simple story, Josh, why all the praise?

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<v Speaker 3>Oh?

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<v Speaker 2>A lot of reasons? This is delicately and quite beautifully made,

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<v Speaker 2>especially for a feature directorial debut. I think for me

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<v Speaker 2>the storytelling is just an intriguing premise and interestingly handled

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<v Speaker 2>inventively spun out as a narrative. For me, it's these

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<v Speaker 2>two performances. I just stunned at the sense of connection

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<v Speaker 2>they could establish between these two characters who are mostly

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<v Speaker 2>not together. And then what happens when they do come

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<v Speaker 2>together is this electricity that is, it's like an impossible

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<v Speaker 2>scenario romance, which we've seen others of those but I

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<v Speaker 2>don't think those always capture the combination of rigria and

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<v Speaker 2>romance that are all taking place in one scene. And

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<v Speaker 2>again it's due to songs staging to her decision of

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<v Speaker 2>when to bring them together and how to bring them together.

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<v Speaker 2>That's absolutely a part of it. But it's just these

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<v Speaker 2>two in You and Lee, the way they I mean,

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<v Speaker 2>we talked about you know who did we like that

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<v Speaker 2>are a little bit Shortzman or Johansson in Astroid City.

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<v Speaker 2>And I don't want to always pit two leads against

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<v Speaker 2>each other. But for me, when I think about this movie,

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<v Speaker 2>Lee is wonderful. You're just kind of like Crumple inward.

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<v Speaker 2>When I think about how tail You looks at her,

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<v Speaker 2>how Hessong looks at Norah here when she's looking at him,

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<v Speaker 2>when she's not looking at him, it is the mo

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<v Speaker 2>It is the saddest thing I think I've seen an

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<v Speaker 2>screen in a long time, and the way he embodies that.

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<v Speaker 2>This is an actor I'm mostly unfamiliar with. He was

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<v Speaker 2>in decision to leave and a number of other projects

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<v Speaker 2>he's been in, but this is the first time I've

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<v Speaker 2>really watched him closely. It's stunning what he can encompass

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<v Speaker 2>without saying much, and then when he does deliver some

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<v Speaker 2>of these lines written by song, it's just like punches

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<v Speaker 2>you in the gut after you've already kind of like

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<v Speaker 2>been crumpled.

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<v Speaker 1>Yeah, it's a really wonderful performance, right, and they both are.

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<v Speaker 1>But I too, And I just saw this late last

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<v Speaker 1>night and am still thinking about it quite a bit.

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<v Speaker 1>When I think about the film and I think about

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<v Speaker 1>the moments that are the most kind of subtly devastating,

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<v Speaker 1>I am thinking about his face. And I think part

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<v Speaker 1>of that is that, for lack of a better term,

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<v Speaker 1>there's a little bit of a puppy dog to him.

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<v Speaker 1>He seems to be the one who is holding on

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<v Speaker 1>to feelings more strongly about her, for sure, and there's

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<v Speaker 1>a lot of reasons for that, including that she has

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<v Speaker 1>moved on and she's gotten married. But I think it

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<v Speaker 1>actually fits with their characters too. And I'm not going

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<v Speaker 1>to ruin the line at all, because there's a great

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<v Speaker 1>revelation between the two characters, and even saying that makes

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<v Speaker 1>it seem bigger than it is. No, it's a it's

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<v Speaker 1>a profound moment, but it's not a huge plot development

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<v Speaker 1>or treated like an epiphany, because this is a movie

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<v Speaker 1>that is really about these small interactions and these quiet moments.

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<v Speaker 1>I want to talk about that a little bit more,

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<v Speaker 1>but there's there's a realization about the differences between them,

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<v Speaker 1>or the main difference between them, and that's who She is,

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<v Speaker 1>the one to have some ambition and to want to

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<v Speaker 1>always be moving forward, and he's the one who wants

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<v Speaker 1>to stay in the past a little bit more. Well,

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<v Speaker 1>you read that, You read that in every every look,

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<v Speaker 1>every time he looks at her, you sense that in him,

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<v Speaker 1>And for me, You're right. Delicate's a great word. This

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<v Speaker 1>is a movie that is in that same realm as

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<v Speaker 1>films by directors like Celine Siama and Koganata, where they

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<v Speaker 1>are full of dramatic tension. There is conflict, but the

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<v Speaker 1>film at no point escalates any of it. And I

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<v Speaker 1>think it ends exactly where it should and how it should.

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<v Speaker 1>But all I could think about, Josh was Wow, this

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<v Speaker 1>is where a lot of films that would be mining

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<v Speaker 1>similar material. This is where they'd be just beginning. This

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<v Speaker 1>would be this would be at best the middle of

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<v Speaker 1>the film, and maybe maybe more, because those movies would

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<v Speaker 1>be all about taking those tensions and trying to ratchet

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<v Speaker 1>them up. And create more drama, and ultimately it would

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<v Speaker 1>probably be more mellow dramatic, and we don't get even

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<v Speaker 1>a hint of that here in this film.

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<v Speaker 2>Yeah, I think it ends just perfectly for what it

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<v Speaker 2>wants to do in the story that it's telling. Yeah,

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<v Speaker 2>it's fascinating to think about as you're describing his character.

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<v Speaker 2>You're right, and those qualities that make us both feel

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<v Speaker 2>drawn to him and remember him. I think there's a

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<v Speaker 2>braveness to Lee's performance as Nora that she doesn't shy

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<v Speaker 2>away from making Nora somewhat of the harder character, the

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<v Speaker 2>more driven character. And so maybe it's not fair for

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<v Speaker 2>us to say, well, I like this performance better, because

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<v Speaker 2>really she they're just giving us who these characters need

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<v Speaker 2>to be. This relationship would not evolve this way if

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<v Speaker 2>Nora were less driven, less headstrong, less independent. Those are

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<v Speaker 2>all qualities that are positive qualities of hers. It's why

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<v Speaker 2>she's able to make her way through this early childhood

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<v Speaker 2>while middle school when her family immigrants experience. It's why

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<v Speaker 2>she's able to establish this artistic career and move to

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<v Speaker 2>New York City and have the level of success that

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<v Speaker 2>she does have. So these are all good qualities, but

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<v Speaker 2>when we're seeing them strictly through the lens of this relationship,

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<v Speaker 2>it's tempting to say, oh, man, like, if only she

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<v Speaker 2>would open up to him a little more, that's kind

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<v Speaker 2>of what we want. But again, the trick of this

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<v Speaker 2>movie is that they're just more learning that where they've

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<v Speaker 2>ended up is probably where they should be. And perhaps

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<v Speaker 2>she just comes to recognize that a little sooner than

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<v Speaker 2>him because of her internal makeup, her psychology. And that's okay,

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<v Speaker 2>But you do still come away feeling not that they

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<v Speaker 2>should have gotten together, that he was right, that his

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<v Speaker 2>pining should have been real warded. I don't mean that

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<v Speaker 2>at all, but it's just more in terms of the

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<v Speaker 2>character that at least I became a little more attached to.

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<v Speaker 2>And you can see it in the way, you know

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<v Speaker 2>these are separate sections. When they do separate again, she's

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<v Speaker 2>the one who says goodbye, and you know, at least

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<v Speaker 2>in the first two rather curtly, these are decisive. It's

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<v Speaker 2>again part of her character, like we're separating, that's what

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<v Speaker 2>I've decided it's gonna happen, and this is how, and

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<v Speaker 2>it's just done, and he's kind of left there in

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<v Speaker 2>you know that beautiful shot that she actually returns to

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<v Speaker 2>of diverging alleyways that they separate as kids. We see

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<v Speaker 2>early on. It's like in the first ten minutes that's

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<v Speaker 2>how Nora knows the path she's going to, and she's

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<v Speaker 2>gonna head up it after sayta quick goodbye, and he

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<v Speaker 2>is going to linger a bit and look uncertainly at

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<v Speaker 2>the direction he's going to head away from her.

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<v Speaker 1>Yeah, and everything you said is true. But part of

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<v Speaker 1>the magic of this movie, in both the performance of

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<v Speaker 1>Greta Lee and so songs writing and direction, is that

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<v Speaker 1>you never feel as if she's somehow cold no, or

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<v Speaker 1>that she's not. She's not responding to him with as

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<v Speaker 1>much longing or at least strength of feeling that he's

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<v Speaker 1>also showing. And they're processing it in different ways, including

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<v Speaker 1>she is the one, as you said, who earlier on

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<v Speaker 1>because they this is something I didn't get from the

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<v Speaker 1>from the trailer, they actually do reunite earlier in their lives,

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<v Speaker 1>and then where we see a good chunk of the film,

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<v Speaker 1>they're now twelve years beyond that. So we see him

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<v Speaker 1>twice come together, but they separate each time for an

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<v Speaker 1>expanse of time, and you you understand that she's making

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<v Speaker 1>that decision, but she's also making it and she's making

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<v Speaker 1>that tough call because of the weight, the weight of

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<v Speaker 1>this relationship on her and the fact that it doesn't

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<v Speaker 1>seem to ever have the potential future that they both want.

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<v Speaker 1>So you are always feeling both sides of her character.

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<v Speaker 1>And what is I think you could say a dilemma,

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<v Speaker 1>this dilemma of this this space that is between them.

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<v Speaker 1>I won't say it's a disappointment because I didn't. I

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<v Speaker 1>didn't hold it against the movie, Josh. But maybe where

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<v Speaker 1>it was different than my expectations is I just got

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<v Speaker 1>the sense from the trailer that it might be even

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<v Speaker 1>a little bit more poetically realized, a little more experimental visually,

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<v Speaker 1>how it sort of danced around in time, and it's

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<v Speaker 1>fairly linear. You know, it starts in the past, it

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<v Speaker 1>works up to the present. There are these occasional flashes

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<v Speaker 1>back to who they were and moments they shared together,

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<v Speaker 1>but it is all beautifully observed, and those flashes to

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<v Speaker 1>the past are perfectly employed. Yeah, and I also think

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<v Speaker 1>that that song intrinsically understands and feels exactly when to

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<v Speaker 1>use and hold on a longer take and let the

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<v Speaker 1>moment play out in front of us, utilizing two shots

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<v Speaker 1>as well, versus relying on a lot of cross cutting

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<v Speaker 1>or putting them in their own individual frames. We are

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<v Speaker 1>often looking at these characters together. Now, there's also some

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<v Speaker 1>moments where there's three characters in this space, but the

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<v Speaker 1>camera is only showing us too. Yes, and that matters

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<v Speaker 1>a lot as well. But it's always about the shared

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<v Speaker 1>experience that they're having. And so then I think that's

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<v Speaker 1>what heightens as well, every look and gesture and reaction.

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<v Speaker 2>Yeah. So the filmmaking, You're right, those insert shots of

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<v Speaker 2>earlier moments, meaning twelve to twenty four years earlier moments

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<v Speaker 2>are perfectly handled in one to drop them in and

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<v Speaker 2>how long to hold them, not to push it too hard.

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<v Speaker 2>And also what I liked about her filmmaking style was

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<v Speaker 2>the way she moves the camera. I think you said patiently,

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<v Speaker 2>which is right. It's almost as if the camera is

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<v Speaker 2>going to slowly track along or even pan until it

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<v Speaker 2>finds exactly what it is looking for. A couple of

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<v Speaker 2>early examples of that would be when she does announce

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<v Speaker 2>as a middle schooler, as a young girl in class

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<v Speaker 2>at school to another girl that her family is leaving,

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<v Speaker 2>and the camera kind of starts on that conversation and

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<v Speaker 2>then slowly finds its way without cutting to see Hassung

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<v Speaker 2>sitting there hearing this, and you get the sense this

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<v Speaker 2>is maybe the first time he's heard it, maybe not,

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<v Speaker 2>but it's it's really becoming real for him in that moment.

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<v Speaker 2>And I just like how we don't start with him

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<v Speaker 2>and overhear it. The camera just slowly moves there. Another shot,

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<v Speaker 2>and this is later. It's a jump ahead when he's

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<v Speaker 2>serving in the army and the camera starts on a

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<v Speaker 2>bunch of young men sitting eating their food. I think everyone,

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<v Speaker 2>almost everyone is eating alone. It's a very despondent, lonely scene.

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<v Speaker 2>And it starts with a different group of soldiers until

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<v Speaker 2>it drifts to the left and then finds him and

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<v Speaker 2>he's there alone.

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<v Speaker 1>We even have to find we have to find him

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<v Speaker 1>as viewers have to pick him out.

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<v Speaker 2>Yeah, good point, because he's not the only person on

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<v Speaker 2>the screen. And then it rests there and lets us

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<v Speaker 2>watch him. Those are just two minor examples, but that's

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<v Speaker 2>felt kind of like the primary style she employed, which

0:13:08.960 --> 0:13:13.280
<v Speaker 2>again is thoughtful, contemplative and to your point, allowing us

0:13:13.320 --> 0:13:16.280
<v Speaker 2>to consider maybe not in that last example, but the

0:13:16.280 --> 0:13:20.360
<v Speaker 2>classroom one. Everyone involved in this drama.

0:13:20.679 --> 0:13:22.960
<v Speaker 1>Well, how about just the economy of it too. Twelve

0:13:23.040 --> 0:13:26.760
<v Speaker 1>years later, the first shot we get after that text,

0:13:26.800 --> 0:13:30.239
<v Speaker 1>I think it says twelve years pass is this military

0:13:30.280 --> 0:13:35.640
<v Speaker 1>moment and them all eating, and it lasts maybe thirty seconds.

0:13:36.160 --> 0:13:38.440
<v Speaker 1>I feel like that's really all we get of him

0:13:39.200 --> 0:13:42.559
<v Speaker 1>in that moment. It's as if that's that's enough. Zilian

0:13:42.640 --> 0:13:48.080
<v Speaker 1>Song understands that, like just from getting the feeling of

0:13:48.280 --> 0:13:51.640
<v Speaker 1>the loneliness of that scene and understanding that he was

0:13:51.640 --> 0:13:54.320
<v Speaker 1>in the military, Like, we are getting some information about him,

0:13:54.440 --> 0:13:57.120
<v Speaker 1>but we're getting it just through twenty to thirty seconds

0:13:57.160 --> 0:13:59.640
<v Speaker 1>of really, I think a single shot. And this is

0:13:59.679 --> 0:14:03.000
<v Speaker 1>something that it's in the trailer, this concept that's invoked

0:14:03.040 --> 0:14:07.439
<v Speaker 1>of of Inyon. I hope I'm saying somewhat correctly, this

0:14:07.559 --> 0:14:10.160
<v Speaker 1>idea of fate people coming together as if they were

0:14:10.160 --> 0:14:14.200
<v Speaker 1>destined to and and they've encountered each other in past lives,

0:14:14.240 --> 0:14:19.560
<v Speaker 1>as the title suggests. But I love how the movie

0:14:20.000 --> 0:14:23.440
<v Speaker 1>doesn't overplay that doesn't doesn't try to get sort of

0:14:23.440 --> 0:14:28.200
<v Speaker 1>too mystical with it, and yet watching it you do

0:14:28.240 --> 0:14:30.800
<v Speaker 1>feel I felt the whole time that I I was

0:14:30.840 --> 0:14:33.520
<v Speaker 1>watching characters, and certainly by by the end of where

0:14:33.560 --> 0:14:36.280
<v Speaker 1>it comes out, I felt as if I was watching

0:14:36.400 --> 0:14:41.640
<v Speaker 1>characters who were part of something larger that that they're

0:14:41.760 --> 0:14:46.640
<v Speaker 1>They're considering these these important questions about about their identities,

0:14:47.280 --> 0:14:51.080
<v Speaker 1>not just love and happiness, but but fundamentally who they

0:14:51.120 --> 0:14:54.040
<v Speaker 1>are as as people and who they who they want

0:14:54.080 --> 0:14:56.840
<v Speaker 1>to be as people. And where I'm going with this

0:14:56.960 --> 0:14:59.160
<v Speaker 1>is this is a half baked idea. Again, I haven't

0:14:59.160 --> 0:15:01.200
<v Speaker 1>had enough time to actually try to come up with

0:15:01.240 --> 0:15:06.120
<v Speaker 1>an eloquent or maybe logical way of phrasing this, Josh,

0:15:06.120 --> 0:15:09.840
<v Speaker 1>but I felt by the end that Past Lives is

0:15:09.880 --> 0:15:14.680
<v Speaker 1>the year's other great multiverse movie, despite the fact that

0:15:14.720 --> 0:15:17.320
<v Speaker 1>it's so grounded in everyday life and it's not as

0:15:17.320 --> 0:15:21.680
<v Speaker 1>if we actually travel to any alternate universes or other realities.

0:15:21.960 --> 0:15:28.720
<v Speaker 1>But I felt as if these characters truly were part

0:15:28.800 --> 0:15:31.880
<v Speaker 1>of this larger continuum, that there might actually be other

0:15:32.080 --> 0:15:36.480
<v Speaker 1>versions of these three characters interacting with each other past, present,

0:15:36.520 --> 0:15:37.000
<v Speaker 1>and future.

0:15:37.640 --> 0:15:39.520
<v Speaker 3>He was just this kid in my head for such

0:15:39.520 --> 0:15:43.560
<v Speaker 3>a long time, and then he was just this image

0:15:43.600 --> 0:15:48.240
<v Speaker 3>on my laptop, and now he is a physical person.

0:15:49.040 --> 0:15:52.200
<v Speaker 3>It's really intense but I don't think that that's attraction.

0:15:52.320 --> 0:15:55.440
<v Speaker 3>I think I just missed him a lot. I think

0:15:55.440 --> 0:15:56.400
<v Speaker 3>I missed soul.

0:15:57.600 --> 0:16:00.000
<v Speaker 1>Did he miss you?

0:16:00.840 --> 0:16:03.360
<v Speaker 3>I think he missed the twelve year old cry baby.

0:16:03.560 --> 0:16:09.600
<v Speaker 3>He knew a long time ago you were a cry baby. Yeah,

0:16:10.000 --> 0:16:11.840
<v Speaker 3>most of the time, he'd have to just stand there

0:16:11.880 --> 0:16:16.040
<v Speaker 3>and watch me. When is the leaving again?

0:16:17.120 --> 0:16:20.160
<v Speaker 2>When you consider the John Baguyro character, her husband, her

0:16:20.200 --> 0:16:23.280
<v Speaker 2>eventual husband, which is a significant part, it's not just like,

0:16:23.520 --> 0:16:26.200
<v Speaker 2>you know, he shows up once and yeah, we know

0:16:26.240 --> 0:16:28.320
<v Speaker 2>who he is, and then that's always in our minds. No,

0:16:28.440 --> 0:16:32.880
<v Speaker 2>he becomes an integral member participant in this story, which

0:16:32.920 --> 0:16:35.840
<v Speaker 2>speaks to your point. I think about there's another universe

0:16:35.880 --> 0:16:39.160
<v Speaker 2>where they do not meet, and she's actually we learn

0:16:39.160 --> 0:16:41.600
<v Speaker 2>about that concept in Yon when she is speaking with

0:16:41.680 --> 0:16:44.280
<v Speaker 2>him and first meets him out a writer's retreat. That's

0:16:44.280 --> 0:16:47.240
<v Speaker 2>the first time it's introduced into the story. So, yeah,

0:16:47.240 --> 0:16:51.720
<v Speaker 2>there are some maybe less Spider Verse and more everything

0:16:51.760 --> 0:16:55.520
<v Speaker 2>everywhere all at once vibes going on here with the

0:16:55.880 --> 0:16:57.760
<v Speaker 2>alternate romances that could have been.

0:16:58.280 --> 0:17:00.920
<v Speaker 1>Yeah, and just connecting to that a little bit and

0:17:00.960 --> 0:17:03.560
<v Speaker 1>going back to the klip we played. I also really

0:17:03.600 --> 0:17:07.040
<v Speaker 1>do like the way song plays with that idea of

0:17:07.119 --> 0:17:11.399
<v Speaker 1>narrative framing, and that the movie opens on the camera

0:17:11.600 --> 0:17:14.720
<v Speaker 1>showing these three characters sitting together later in the film,

0:17:14.840 --> 0:17:17.239
<v Speaker 1>sitting together from across the bar, and we only hear

0:17:17.280 --> 0:17:20.680
<v Speaker 1>the voices of people. It's our eyes looking through the camera,

0:17:20.760 --> 0:17:24.280
<v Speaker 1>but people saying, what's their story? Who are they to

0:17:24.440 --> 0:17:28.600
<v Speaker 1>each other? Asking themselves all these things. Well, we of

0:17:28.640 --> 0:17:31.160
<v Speaker 1>course are trying to make sense of that as well

0:17:31.440 --> 0:17:35.640
<v Speaker 1>as viewers watching that, and we're paying attention to all

0:17:35.680 --> 0:17:39.440
<v Speaker 1>of the body language and how they're sitting near each other,

0:17:39.520 --> 0:17:41.960
<v Speaker 1>and who's looking at who, and who's smiling and is

0:17:42.000 --> 0:17:44.919
<v Speaker 1>at a wistful face? And what does that mean? And

0:17:44.960 --> 0:17:48.520
<v Speaker 1>then when we returned to that scene, it's not as if,

0:17:48.560 --> 0:17:51.399
<v Speaker 1>at least in my recollection, song completely subverts it and

0:17:51.440 --> 0:17:53.720
<v Speaker 1>turns it all on its head in some radical way.

0:17:54.000 --> 0:17:58.320
<v Speaker 1>But I noticed all these these moments where the way

0:17:58.520 --> 0:18:02.159
<v Speaker 1>I interpreted it as a viewer at the beginning, not

0:18:02.400 --> 0:18:04.720
<v Speaker 1>knowing the characters and also not actually being able to

0:18:04.720 --> 0:18:07.440
<v Speaker 1>hear what they're saying, it was completely different, Josh.

0:18:07.400 --> 0:18:07.560
<v Speaker 3>It was.

0:18:07.680 --> 0:18:12.959
<v Speaker 1>It was a completely different experience later informed with more knowledge.

0:18:12.720 --> 0:18:15.320
<v Speaker 2>That whole sequence where the three of them go out

0:18:15.359 --> 0:18:19.359
<v Speaker 2>to dinner and then afterwards hang around for drinks as well.

0:18:19.560 --> 0:18:22.439
<v Speaker 2>I will I'm very eager to watch quite closely on

0:18:22.480 --> 0:18:25.040
<v Speaker 2>a revisit, and I will be seeing this movie again

0:18:25.160 --> 0:18:29.760
<v Speaker 2>because it does ultimately work. But in the moment, as

0:18:29.760 --> 0:18:34.120
<v Speaker 2>you're describing, there are some interesting choices in terms of

0:18:34.520 --> 0:18:37.439
<v Speaker 2>where the camera's placed, as you said, who's in it

0:18:37.520 --> 0:18:42.399
<v Speaker 2>and who's not, and the editing as well. That was

0:18:42.480 --> 0:18:45.639
<v Speaker 2>a bit jarring, but has to be to a purpose,

0:18:46.760 --> 0:18:49.280
<v Speaker 2>I'm saying, just because of the ultimate effect of the sequence,

0:18:49.320 --> 0:18:51.800
<v Speaker 2>but also knowing how we've discussed, you know, the careful

0:18:51.880 --> 0:18:55.160
<v Speaker 2>choice is made earlier. But it's a very complicated sequence

0:18:55.960 --> 0:18:58.520
<v Speaker 2>in just the filmmaking, let alone the performances that are

0:18:58.560 --> 0:18:59.160
<v Speaker 2>going on there.

0:19:00.160 --> 0:19:03.720
<v Speaker 3>You strangers walk by each other in the street and

0:19:04.000 --> 0:19:09.840
<v Speaker 3>their clothes accidentally brush. That means there have been eight

0:19:09.920 --> 0:19:18.440
<v Speaker 3>thousand layers of emyon between them. Instead.

0:19:21.080 --> 0:19:23.320
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