Less a love story than a meditation on what-ifs, the film has propelled its debut director to a rarefied strata of acclaim – and away from her own past life
came to Song when she too was sitting in an East Village cocktail joint, sandwiched between an old flame from Seoul, who spoke only Korean, and her husband, the screenwriter Justin Kuritzkes, who spoke only English.
Song is on the tail end of a five-day trip to Australia – a week mostly spent on movie duty, though she has made time for a speedy sojourn to Melbourne zoo. She is no stranger to the vertigo of international transit: she grew up in Korea and moved with her family to Canada as a child before settling in New York as an adult.
This is not the first time Song has crafted a character from herself. In her 2019 play Endlings, a narrative ostensibly about three elderly Korean haenyeo is interrupted by the appearance of a Korean Canadian playwright living in Manhattan who puzzles over how to tell this tale without succumbing to a white audience’s expectations. She shares her dilemma with her partner, who wears a comically outsized Brechtian sign slung over his shoulders, reading: “WHITE HUSBAND ”.
For Song, it’s these ambiguities of life – “a very, very nebulous thing” – that make Past Lives compelling. The film’s central duo dwell in the mysteries of a not-quite romance just as Nora herself shoulders the uncertainties of immigration.
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