Past Lives

Not since Kogonada’s Columbus has a filmmaker burst onto the scene with such a fully formed cinematic vision as writer/director Celine Song and her feature debut, Past Lives.

In both instances, each artist is working from a firm foundation — Kogonada with video essays and Song with playwriting — and, in addition to gifts with capturing striking visuals and shepherding memorable turns from actors, a commitment to heartfelt, humane storytelling allows them to stand apart from their peers.

But as soulful and authentic a depiction of the human spirit as Columbus offers, Past Lives outshines it with nary a dishonest note to be found in its mesmerizing 105 minutes.

Focusing on Nora (Greta Lee, Russian Doll) and Hae Sung (Teo Yoo, Decision to Leave) and their intertwined lives over the course of 20 years that takes them from preteen crushes to adults, Song’s film deftly explores the complexities of human relationships and casts a spell early with its disarming earnestness.

Even when the Koreans are young (played exquisitely well by Moon Seung-ah and Leem Seung-min), their bond is wholly believable. Yet those fleeting moments of youth are enough that when they reconnect over FaceTime as 20somethings, with Nora pursuing theater career in New York City and Hae Sung studying to be an engineer in Seoul, their rekindled spark feels nothing but natural.

The deep interest in and care for one another that soon grows is sure to send viewers down memory lane of their own romances’ early days. And anyone who’s merely thought about having a long-distance relationship will relate to the turns their bond takes and the serendipitous way that kindly fellow writer Arthur (John Magaro, First Cow) enters Nora’s world.

So much more can be said about this remarkable film, from the emotionally rich performances to the brilliant opening scene, but lazy as it feels to say, Past Lives truly is one of those movies best experienced, then discussed — rather than dissected in a review prior to the undertaking. But hopefully these inadequate words of praise are enough to get movie lovers and simply lovers of great storytelling out to theaters to catch this little miracle with others.

Between this and Beau is Afraid, A24 has the year’s two best films — and just might be an Oscar juggernaut again.

Grade: A. Rated R. Now playing at the Fine Arts Theatre and Grail Moviehouse

(Photo: A24)