“Past Lives” is a beautiful film about the power of relationships and past connections. The film opened with an intriguing shot that immediately made me invested in the characters. Three people are sitting at a bar in NY – a man and a woman, both of Asian descent, chat with each other, while a white man next to them looks silently on. Some people watchers offscreen wonder how these three are connected – are the two Asians a couple? Is the white man the Asian woman’s boyfriend? The story that follows is deeply rooted in director Celine Song’s personal experiences.

It’s refreshing to see a film that features mature and competent characters that are reflective about their life choices. After the prologue, the story jumps back 24 years to when the two Korean characters are children. The girl is named Na Young, and the boy is named Hae Sung. We witness pivotal moments in their lives that define them as characters. The film is one part an immigration story and another part a romantic drama. What I loved most about all of the characters in the story was their sense of pragmatism. The film is very naturalistic, reminding me at times of Linklater’s “Before” trilogy. There are no rash decisions being made, no melodrama, no sickly sentimental speeches – rather the film is earnestly philosophical.

“Past Lives” is Celine Song’s directorial debut, and she has set a high bar for her next creative adventure. The actors are all fantastic, especially Greta Lee and Teo Yoo. They expertly conveyed internal conflict and relatable emotions through their faces and body language. The cinematography is particularly beautiful, maintaining the simplistic tone of the story but elevating the locations with sophistication. This film is by far the most compelling romantic drama I have seen since “Before Midnight.” Its focus on possibilities over regret is what makes it stand out in its genre. This gives the ending (if not the whole story) a more optimistic and mature tone, despite what literal events might be playing out on screen. Is it too early to call this the best movie of the year?