Celine Song discusses the experience that sparked the inspiration for her stunning directorial debut, PastLives.
Five years ago, Celine Song was at East Village bar Please Don’t Tell, sitting between two men: her “white American husband” and her “childhood sweetheart” from South Korea. Though Song, who was born in South Korea before moving to Canada at 12, speaks both English and Korean, her seatmates were separated by a language barrier, pushing Song into the role of translator for the night.
It was the first scene that I wrote, and that’s when I knew that I could write the movie. That scene had to be confrontational, but also warm and welcoming. I sometimes talk about this movie as a “mystery film”—not as a whodunit, but as a mystery of who these three people are to each other. And when we come back to that scene later, the audience, because they went through these lives with these characters, are going to see the three of them completely differently.
Nora is translation embodied, because you can’t dismiss either part of her. She cannot erase Hae Sung in the same way she cannot erase Arthur in her life. She’s having to translate between these two guys, but that means that she’s also translating between different parts of her life while also translating for us, the audience, what this feels like.There’s a way to watch this where you feel inclined to root for Nora and Hae Sung, because “childhood sweethearts” usually end up together in movies.
I really wanted these characters to feel like fully fleshed-out people we can connect to, and that has to do with their emotional intelligence. They’re able to communicate and articulate what they’re going through. They think about where they are in the universe, what they want, what they hope for themselves, and most importantly, what they hope for each other, because some of it has to do with the responsibility they feel for each other.
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