Oscar-Nominated Korean Diaspora Film Follows ‘Lives We Leave Behind’ 

South Korean-Canadian director, playwright, and screenwriter Celine Song walks on the stage to pose for photos after a screening of her film "Past Lives" in Seoul on February 28, 2024. (AFP)
South Korean-Canadian director, playwright, and screenwriter Celine Song walks on the stage to pose for photos after a screening of her film "Past Lives" in Seoul on February 28, 2024. (AFP)
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Oscar-Nominated Korean Diaspora Film Follows ‘Lives We Leave Behind’ 

South Korean-Canadian director, playwright, and screenwriter Celine Song walks on the stage to pose for photos after a screening of her film "Past Lives" in Seoul on February 28, 2024. (AFP)
South Korean-Canadian director, playwright, and screenwriter Celine Song walks on the stage to pose for photos after a screening of her film "Past Lives" in Seoul on February 28, 2024. (AFP)

A Korean-Canadian director's debut feature film -- a quiet romance exploring time, longing and lost chances -- has arrived in South Korea for theater release after garnering two Oscar nominations.

Ever since South Korea's "Parasite" became the first non-English language film to win a Best Picture Oscar in 2020, works by Korean diaspora filmmakers have witnessed a significant surge of global interest.

Celine Song's "Past Lives" comes alongside the critical success of other works featuring the Korean overseas experience, such as "Minari", "Pachinko" and Netflix's "Beef".

The film follows a Korean-American woman in New York who is visited by her childhood crush from Seoul more than 20 years after she abruptly left South Korea for North America.

It was a favorite at last year's Sundance, won best picture at this year's Independent Spirit Awards and has received two nominations for the upcoming Academy Awards: best picture and best original screenplay.

The project was inspired by Song's own experience – being with her husband who does not speak Korean and her childhood friend who was visiting from South Korea in New York -- where she had to act as an interpreter for the gathering.

"As I was doing the interpretation, I also realized that I was interpreting two parts of my own story, my personal history itself and my identity," Song said at a press conference in Seoul.

Her film skillfully explores what it means to live in the realm of "what ifs", and one's complex relationship with a younger self that exists solely in the past and in places they no longer inhabit.

"We are not fantasy characters nor do we traverse multiple universes or parallel dimensions," Song said in an interview with AFP and others, when asked about the film's title.

"But because we pass through so much time and space, and because we age and we relocate, I believe that there are always lives that we end up leaving behind."

Time and closure

"Past Lives" is South Korean entertainment giant CJ ENM's first joint project with Hollywood's indie film studio A24, which counts films such as the Oscar-winning Korean-American tale "Minari" and absurdist immigrant comedy-drama "Everything Everywhere All at Once" in its catalogue.

One-third of "Past Lives" was shot in South Korea, with the remaining portions filmed in the United States. Its distribution is being handled by A24 in North America and CJ in Asia.

CJ ENM -- which has backed film hits including "Parasite" and local blockbusters such as "Ode to My Father" -- said "Past Lives" is part of its strategy to diversify into the global market.

"It is difficult for us to compete in the United States with a movie that goes up against a Marvel series" with huge budgets, Jerry Kyoungboum Ko, CJ ENM's head of film business, said.

The company's strength lies in its focus on Asia, and CJ ENM aims to leverage that by collaborating with up-and-coming talents from both domestic and international backgrounds who have fresh and authentic stories linked to the region, he added.

While diasporic tales have recently garnered considerable attention in Hollywood, stories of loss and places are "no longer exclusive to immigrants themselves" in the modern world, director Song said.

"When we screened this movie in Ireland, there was an Irish person who was moved to tears because it reminded him of his girlfriend whom he had left behind in Dublin, while he's currently residing in Glasgow."

Song said her film also explores the concept of closure.

"In life, there are moments when we say goodbye to (things and people) in a proper manner. However, there are also instances where we neglect to do so because we just think it's insignificant," she said.

"We come to realize how fortunate it is to be able to say goodbyes properly, how much of a gift it is."



Movie Review: 'Eddington' Is a Satire About Our Broken Brains That Might Re-Break Your Brain

 This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
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Movie Review: 'Eddington' Is a Satire About Our Broken Brains That Might Re-Break Your Brain

 This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)

You might need to lie down for a bit after "Eddington." Preferably in a dark room with no screens and no talking. "Eddington," Ari Aster's latest nightmare vision, is sure to divide but there is one thing I think everyone will be able to agree on: It is an experience that will leave you asking "WHAT?" The movie opens on the aggravated ramblings of an unhoused man and doesn't get much more coherent from there. Approach with caution.

We talk a lot about movies as an escape from the stresses of the world. "Eddington," in which a small, fictional town in New Mexico becomes a microcosm of life in the misinformation age, and more specifically during the pandemic and the Black Lives Matter protests, is very much the opposite of that. It is an anti-escapist symphony of masking debates, conspiracy theories, YouTube prophets, TikTok trends and third-rail topics in which no side is spared. Most everyone looks insane and ridiculous by the end, from the white teenage girl (Amélie Hoeferle) telling a Black cop (Michael Ward) to join the movement, to the grammatical errors of the truthers, as the town spirals into chaos and gruesome violence.

Joaquin Phoenix plays the town sheriff, a soft-spoken wife guy named Joe Cross, who we meet out in the desert one night watching YouTube videos about how to convince your wife to have a baby. He's interrupted by cops from the neighboring town, who demand he put on a mask since he's technically crossed the border.

It is May 2020, and everyone is a little on edge. Joe, frustrated by the hysterical commitment to mandates from nowhere, finds himself the unofficial spokesperson for the right to go unmasked. He pits himself against the slick local mayor Ted Garcia (Pedro Pascal), who is up for reelection, in the pocket of big tech and ready to exploit his single fatherhood for political gain. At home, Joe's mother-in-law Dawn (Deirdre O'Connell) spends all day consuming internet conspiracy theories, while his wife Louise (a criminally underused Emma Stone) works on crafts and nurses unspoken traumas.

Joe's eagerness to take on Ted isn't just about masking. Years ago, Ted dated his now-wife, a story that will be twisted into rape and grooming accusations. Caricatures and stereotypes are everywhere in "Eddington," but in this world it feels like the women are especially underwritten - they are kooks, victims, zealots and the ones who push fragile men to the brink. But in "Eddington," all the conspiracies are real and ordinary people are all susceptible to the madness.

In fact, insanity is just an inevitability no matter how well-intentioned one starts out, whether that's the woke-curious teen rattled by rejection, or the loyal deputy Guy (Luke Grimes) who is suddenly more than happy to accuse a colleague of murder. Louise will also be swayed by a floppy-haired internet guru, a cult-like leader played with perfect swagger by Austin Butler.

The problem with an anarchic satire like "Eddington," in theaters Friday, is that any criticism could easily be dismissed with a "that's the point" counterargument. And yet there is very little to be learned in this silo of provocations that, like all Aster movies, escalates until the movie is over.

There are moments of humor and wit, too, as well as expertly built tension and release. "Eddington" is not incompetently done or unwatchable (the cast and the director kind of guarantee that); it just doesn't feel a whole of anything other than a cinematic expression of broken brains.

Five years after we just went through (at least a lot of) this, "Eddington" somehow seems both too late and too soon, especially when it offers so little wisdom or insight beyond a vision of hopelessness. I wonder what world Aster thought he'd be releasing this film into. Maybe one that was better, not cosmically worse.

It's possible "Eddington" will age well. Perhaps it's the kind of movie that future Gen Alpha cinephiles will point to as being ahead of its time, a work that was woefully misunderstood by head-in-the-sand critics who didn't see that it was 2025's answer to the prescient paranoia cinema of the 1970s.

Not to sound like the studio boss in "Sullivan's Travels," trying to get the filmmaker with big issues on the mind to make a dumb comedy, but right now, "Eddington" feels like the last thing any of us need.