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Tag: Past Lives

  • The 10 Best Slow-Burn Romance Films

    Looking for love? You’ve come to the right place. Why go to a singles bar or a farmer’s market when you could stumble into a slow-burn romance from the comfort of your own home? After all, who’s got the time for a chaotic and messy love affair? With bills to pay and deadlines to hit, who wouldn’t choose a quiet and consistent love over something explosive and short-lived? Less of a headache to manage. Not all love is incendiary; sometimes it starts with a little spark rather than emotional gasoline, but as the years pass, the flames burn all the hotter. These 10 best slow-burn romances? Each one is a cinematic bonfire.

    Portrait of a Lady on Fire

    Noémie Merlant and Adèle Haenel in portrait of a lady on fire
    (Pyramide Films)

    Directed by Portrait of a Lady on Fire, Céline Sciamma’s Portrait of a Lady on Fire is peak period romance. Set in the 18th century on a remote French island, the film revolves around Marianne and Héloïse—the flint and tinder for the ultimate sapphic slow-burn. Hired to paint Héloïse’s portrait before she’s married off to a nobleman, Marriane spends hours each day gazing into the stunning face of her subject, and that subject studies her with equal intensity. You know that Nietzsche quote about abysses and their penchant for staring into you? In this case, the abyss in question is Héloïse’s eyes, reflecting Marianne’s hidden desires back at her. A dreamlike portrait of love painted against a rugged coastline, this film is as flammable as an oil painting and equally beautiful to look at.

    Paris, Texas

    A man stands lonely in the desert wasteland in "Paris, Texas"
    (Argos Films)

    Directed by Wim Wenders, Paris, Texas features a romance so slow-burning that you won’t even notice it until the film’s finale. It’s the story of Travis Henderson, a man wandering the west Texas wilderness with nothing but a gallon water jug for company. After collapsing at a gas station, Travis is rescued by his estranged brother and taken back to California, where his young son Hunter has been waiting for him for four years. While Hunter’s mother doesn’t appear until the final act, her absence is felt throughout the film, which culminates in a devastating reunion between two old flames, ignited one last time. What drove Travis and his long-lost beloved apart? Financial hardship? Emotional neglect? Maybe something deeper still, the weight of repressed desires bubbling up to the surface and blasting the pair apart. Be warned, this film is a real tear-jerker.

    Carol

    Cate Blanchett and Rooney Mara in
    (The Weinstein Company/ StudioCanal UK/Scanbox Entertainment)

    Adapted from Patricia Highsmith’s The Price of Salt,  Todd Haynes’ Carol is the story of Therese Belivet, a struggling young photographer whose days of retail worker hell are brightened by the appearance of the titular soon-to-be divorcee. Though Carol and Therese are over a decade apart in age and involved with men, these romantic obstacles are merely fuel for their slow-burning fire. Set in the mid-20th century, Carol is a quiet rebellion against a heteronormative world. While Therese and Carol can’t burn their closed-minded society to the ground, they can at least tend a flame of resistance with every stolen kiss and glance. And while all ten of the slow-burning films on this list are pop culture touchstones, Carol is the only one that launched its own internet meme—”they’re lesbians, Harold.” Yes, Harold, they are, and there’s is one of the greatest love stories of all time.

    In the Mood for Love

    A woman turns away while a man looks at her intently in "In The Mood For Love"
    (Block 2 Pictures)

    Directed by Wong Kar-wai, In the Mood for Love isn’t just one of the greatest slow-burn romances of all time, it’s one of the greatest films ever made. Set in early 1960s Hong Kong, the film follows next-door neighbors Chow and Su, who learn that their respective spouses are having an affair. As the pair piece together the details of their lovers’ infidelity, a slow-burning spark ignites between them. The ultimate romantic tragedy, In the Mood for Love is the culmination of missed connections and unspoken desires. Despite being perfect for one another, Chow and Su’s turbulent emotions cause them to continually blow past each other. We are the sum of all our past lovers, and sometimes those past lovers leave serious marks. Sometimes, we’re hurt so bad that we can’t heal in time for new love to take root. Chow and Su are both holding a candle for each other, but they keep turning away.

    Only Lovers Left Alive

    tilda swinton and tom hiddleston in "only lovers left alive"
    (Sony Pictures Classics)

    Directed by Jim Jarmusch, Only Lovers Left Alive is the story of Adam and Eve—not the biblical apple eaters, but a vampire couple whose love story is equally ancient. Living on opposite ends of the world, the pair are attempting to keep their spark alive by any means necessary. Spending your life with the person you love most in the world sounds romantic, but when that life could potentially last forever, you’ve gotta get creative to keep the romance feeling fresh. In this case, that means wandering Tangiers, working on rock albums, and trying to resist the urge to commit suicide. An existential meditation on romance and un-life, this film questions whether or not everlasting love is really all it’s cracked up to be. Slow-burn? Adam and Eve have kept the flame alive for centuries, and may have to tend it for millenia more.

    Lost In Translation

    (Focus Features)

    Sofia Coppola’s Lost In Translation proves that some of the brightest slow-burns burn briefly. Aging movie star Bob Harris has come to Japan to shoot whiskey commercials and get some distance from his failing marriage. Meanwhile, young Yale graduate Charlotte is stuck with her husband, a famous photographer who often leaves her alone. After commiserating at their hotel bar, Bob and Charlotte strike up an unlikely relationship—one not founded on physical chemistry, but emotional fulfillment. The only two members of their own secret lonely hearts club, Bob and Charlotte grow closer through late-night conversation and sake-fueled karaoke performances. Will they end up together? Probably not. Should they? Debatable. Will you want them to? Absolutely yes.

    Pride and Prejudice

    Pride and Prejudice 2005, Elixabeth Bennet and Mr. Darcy face off in a ballroom. Kiera Knightly and Matthew Macfayden
    (Focus Features)

    An adaptation of the most influential slow-burn romance novel ever penned, Joe Wright’s Pride and Prejudice is an equally seminal piece of romance cinema. Unless you’ve been living under a rock the size of Mr. Darcy’s ego at novel’s beginning, you’re familiar with the gist of its sweeping enemies-to-lovers plot. One could say that Darcy and Elizabeth were burning for one another at their first meeting, but the fuel of that fire changed from hate to love by the story’s end. As the pair slowly begin to let go of their negative preconceptions each other, they create room for affection to grow. When that pair consists of Keira Knightley and Matthew Macfadyen, the film’s audience is sure to be equally smitten.

    If Beale Street Could Talk

    If Beale Street Could Talk
    (Annapurna Pictures)

    Directed by Barry Jenkins, If Beale Street Could Talk isn’t a “will they/won’t they” sort of slow-burn, it’s a “how can this fire possibly stay alive?” Told through a series of non-linear flashbacks, the film follows childhood friends turned lifelong lovers Tish and Fonny, whose relationship is tested by the cruel realities of a corrupt justice system. Arrested for a horrific crime he didn’t commit, Fonny is left to languish in prison, while Tish attempts to convince an uncaring world of her lover’s innocence. Though the film refuses to shy away from the brutal realities that people of color face in the United States carceral system, it’s ultimately a tender testament to the resilience of love. Despite the years, the distance, and the devastation, the fire never goes out.

    Millennium Actress

    Visions of a Japanese actress at different stages of her life in "Millennium Actress"
    (The KlockWorx)

    Directed by Satoshi Kon, Millennium Actress isn’t your traditional slow-burn romance—Kon is anything but traditional, after all. The plot follows two documentarians who are set to interview Chiyoko Fujiwara, a famous Japanese actress who mysteriously vanished from the spotlight decades before. As the pair piece together the details of the now-elderly Chiyoko’s life, they learn that her illustrious career wasn’t fueled by artistic ambition, but by unfulfilled love. After falling head over heels for a runaway political dissident as a teen, Chiyoko took a job as an actress to travel the world in search of him. The slow-burn romance in this film is fueled entirely by Chiyoko’s devotion; she holds a candle for her lost lover across the decades, hoping to be reunited someday. But does Chiyoko truly love the mysterious man whose name she never learned, or just the pursuit of him? Maybe a little of both? That’s something for the documentary crew to figure out.

    Past Lives

    Past Lives movie still.
    (A24)

    Directed by Celine Song, Past Lives is the story of Na Young and Hae Sung, whose slow-burn connection was sparked when they were twelve years old. Separated after her parents moved away from South Korea, Na Young, now renamed Nora, discovers that Hae Sung has been looking for her for over a decade. The pair attempt to reconnect, but distance and other relationships continually prevent them from rekindling their love. The film is a meditation on the concept of inyeon—an untranslateable Korean word for a love that has lasted across past lives. Nora and Hae Sung may not end up together in this lifetime, but they’re destined for one another in the next, or perhaps the next after that. This is a slow-burn romance of cosmic proportions.

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    Image of Sarah Fimm

    Sarah Fimm

    Sarah Fimm (they/them) is actually nine choirs of biblically accurate angels crammed into one pair of $10 overalls. They have been writing articles for nerds on the internet for less than a year now. They really like anime. Like… REALLY like it. Like you know those annoying little kids that will only eat hotdogs and chicken fingers? They’re like that… but with anime. It’s starting to get sad.

    Sarah Fimm

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  • ‘Past Lives’ is nominated for 2 Oscars including best picture, best original screenplay

    ‘Past Lives’ is nominated for 2 Oscars including best picture, best original screenplay

    It’s Oscar Sunday! The 96th Academy Awards, hosted by Jimmy Kimmel, begins at 7 p.m. ET/4 p.m. PT, an hour earlier than past years.

    The Oscars are followed by an all-new episode of “Abbott Elementary.”

    Once all the awards have been handed out, it’s time to party! Watch “On the Red Carpet: After the Awards” for a look into the most star-studded parties of the night.

    On Monday, it’s America’s best after party! “Live With Kelly and Mark: After the Oscars” is live from the Oscars stage at the Dolby Theater in Hollywood at 9 a.m.

    OTRC

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  • Harkins Theatres offers Best Picture Film Fest for Oscar nominees

    Harkins Theatres offers Best Picture Film Fest for Oscar nominees

    The 2024 Academy Award nominations were announced on January 23, and this year, there are 10 movies up for the Best Picture award.

    Many are currently available for rental or on streaming services, but to keep it simple (and to get the true big-screen experience) local chain Harkins Theatres is offering a Best Picture Film Fest going on now.

    Through March 10, moviegoers can see all 10 nominees — “American Fiction,” “Anatomy of a Fall,” “Barbie,” “The Holdovers,” “Killers of the Flower Moon,” “Maestro,” “Oppenheimer,” “Past Lives,” “Poor Things” and “The Zone of Interest” — for $5 each. You can also purchase a Best Picture Film Fest All Access Pass for $40.

    Participating Harkins locations include: Arrowhead Fountains 18, Camelview at Fashion Square, Chandler Fashion 20, Christown 14, Estrella Falls 16, SanTan Village 16, Scottsdale 101 14, Shea 14, Superstition Springs 25, and Tempe Marketplace.

    The full schedule of showtimes is available on the Harkins website.

    The 96th annual Academy Awards will be held on Sunday, March 10.

    Jennifer Goldberg

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  • 14 Powerful Genre-Bending Films That Explore Love in Unconventional Ways

    14 Powerful Genre-Bending Films That Explore Love in Unconventional Ways

    Explore the world of love through a variety of lenses. Here’s a collection of powerful films that each portray love and romance in a unique way, spanning multiple genres including drama, comedy, fantasy, animation, and sci-fi.


    “Cinema is a mirror by which we often see ourselves.”

    Alejandro Gonzalez Inarritu


    Movies give us the opportunity to explore major themes in life in a meaningful and profound way.

    A powerful film can lead to a better understanding of your own experiences. It can communicate thoughts and emotions that may have been challenging to express; and, at times, completely reshape our perspective on life.

    For better or worse, movies play a pivotal role in shaping our beliefs and map of reality. We pick up ideas through films, sometimes absorbed at a very young age, and those ideas find their way into our daily lives influencing our choices and perspectives.

    Filmmakers understand the transformative power of cinema, purposely using it to shake up people’s consciousness. The goal of a solid film is to create an experience that leaves you a different person by the end of it.

    As viewers, it’s essential to be aware of a film’s effects both emotionally and intellectually. Often, the movies that linger in our thoughts long after watching are the most impactful and life-changing.

    Here’s a collection of classic films about love and romance. Each movie has had a lasting influence on audiences in one way or another. It’s an eclectic list that spans multiple genres, including drama, comedy, animation, fantasy, mystery, and sci-fi.

    Titanic (1997)

    James Cameron’s epic tale blends love and tragedy against the historical backdrop of the Titanic’s sinking in 1912. The film weaves a captivating narrative of a forbidden romance blossoming amidst a natural disaster.

    Eternal Sunshine of the Spotless Mind (2004)

    In this mind-bending story, a man attempts to erase the memories of a lost love using cutting-edge technology, only to find fate conspiring to bring the couple back together repeatedly. The film explores the complexities of memory, love, and destiny.

    Beauty and the Beast (1991)

    Disney’s classic adaptation of the French fairy tale is celebrated for its beautiful animation and memorable songs. The film goes beyond appearances, illustrating the transformative power of true love.

    Her (2013)

    Set in a near-future world, “Her” tells the unconventional love story of a lonely man who forms a deep connection with his computer’s operating system. The film delves into themes of technology, loneliness, and the nature of human connection.

    Before Sunrise (1995)

    Richard Linklater’s film follows two young tourists who meet on a train in Europe and share an unforgettable night in Vienna. The movie explores the transient nature of connections and the profound impact of brief encounters.

    Lost in Translation (2003)

    Sofia Coppola’s film features a washed-up American celebrity and a young woman forging an unexpected bond in Tokyo. “Lost in Translation” navigates themes of loneliness, connection, and self-discovery.

    Cinema Paradiso (1988)

    An Italian filmmaker reflects on his past and learns how to channel his love in a different and creative way through his art and craftsmanship.

    Past Lives (2023)

    Two childhood friends reconnect after years apart, seeking to unravel the meaning behind their enduring connection. The film explores the complexities of friendship, time, and shared history.

    Check out: In-Yeon: Exploring “Past Lives” and Eternal Connections

    The Lobster (2015)

    Set in a dystopian future, “The Lobster” challenges societal norms by presenting a world where individuals must choose a romantic partner within 45 days or face transformation into an animal. The film satirizes the pressure to conform in matters of love.

    Annie Hall (1977)

    Woody Allen’s classic romantic comedy is a hilarious and heartfelt movie that explores neurotic love and the psychological obstacles we commonly face in marriage and long-term relationships.

    Your Name. (2016)

    A masterful anime that combines elements of science fiction, fantasy, and romance. It centers on a mysterious connection between a boy and girl who swap bodies, learn about each other’s lives, and search to find each other in real life.

    A Woman Under the Influence (1974)

    John Cassavetes’ uncomfortably raw and dramatic portrayal of the profound impact of mental illness on marriage and family, navigating the complexities with unflinching honesty.

    The Fountain (2006)

    Darren Aronofsky’s “The Fountain” explores love and mortality through three interconnected storylines spanning different time periods. The film delves into themes of eternal love and the quest for immortality, providing a visually stunning and emotionally resonant experience.

    Scenes From a Marriage (1974)

    Legendary director Ingmar Bergman’s deeply incisive and detailed chronicle of a rocky marriage’s final days.

    Choose one movie and analyze it

    Each of these films offers a different perspective on love while also pushing the boundaries of cinema and story-telling.

    It’s fun to compare each story: How did the couples meet? What defined “love” for them? What obstacles did they face? Did the relationship work out in the end or not? Why?

    Exercise: Choose one movie from the list that you haven’t seen before and do the Movie Analysis Worksheet (PDF).

    While films are often seen as just a source of entertainment or healthy escapism, they can also be an avenue for self-improvement and growth.

    The “Movie Analysis Worksheet” is designed to make you think about the deeper themes behind a film and extract some lessons from it that you can apply to your life.

    Watch with a friend and discuss

    If you don’t want to do the worksheet, just watch one of the movies with a friend (or loved one) – then discuss it after.

    Watching a film together is an opportunity to share a new experience. It can also spark up interesting conversations. This is one reason why bonding through movies is one of the most common ways we connect with people in today’s world.

    Which film will you check out?


    Enter your email to stay updated on new content on self improvement:

    Steven Handel

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  • ‘Past Lives’ Named Best Picture by National Society of Film Critics

    ‘Past Lives’ Named Best Picture by National Society of Film Critics

    The National Society of Film Critics has selected Past Lives as the best picture of 2023.

    May December and The Zone of Interest each received two awards. May December was recognized with awards for best screenplay and supporting actor, Charles Melton. Zone of Interest helmer Jonathan Glazer was named best director, with star Sandra Hüller receiving recognition as best actress for her performances in both Zone of Interest and Anatomy of a Fall.

    Best actor went to All of Us StrangersAndrew Scott, and The Holdovers‘ Da’Vine Joy Randolph won best supporting actress. Best cinematography went to Rodrigo Prieto for Killers of the Flower Moon.

    The NSFC, founded in 1966 and made up of more than 60 critics from prominent outlets across the country, annually votes on its selections for best picture, director, actor, actress, supporting actor and actress, screenplay and cinematography. Awards may also be given out to film not in the English language, nonfiction film, production design and film heritage.

    This year, the group began with a number of special awards, including film heritage honors for Criterion Channel and Facets, Kim’s Video, Scarecrow Video and Vidiots.

    The NSFC praised Criterion for its “adventurous, wide-ranging, finely curated selection of films, ranging from American independents to world cinema to short films to classic Hollywood, making readily available the kind of repertory cinema that every city should have.”

    Facet’s, Kim’s Video, Scarecrow Video and Vidiots were recognized for “maintaining wide-reaching libraries of films on disc and tape and making those libraries available to the general public.”

    Voting is conducted via a weighted ballot system, the group explained on its X (formerly known as Twitter) account. On the first ballot, members vote for their top three choices, with the first choice getting three points, second choice getting two points and third choice getting one point. The nominee that receives the most points and appears on the majority of ballots wins. If no winner is declared on the first ballot, the category goes to a second ballot, without proxies. Voting continues with as many rounds as necessary until a nominee receives the most points and appears on the majority of ballots.

    Any film that debuted in theaters or on streaming platforms in the U.S. during 2023 was eligible for awards consideration.

    Last year, the NSFC named Tár as its best film of 2022, with Cate Blanchett also awarded best actress for her starring role and writer-director Todd Field getting the best screenplay award. Separately, The Banshees of Inisherin‘s Colin Farrell won best actor for his performances in both that film and After Yang, and Banshees‘ Kerry Condon was named best supporting actress.

    A complete list of the winners and runners-up from 2023 follows.

    Best picture: Past Lives
    Runners-up:
    The Zone of Interest
    Oppenheimer

    Best director: Jonathan Glazer, The Zone of Interest
    Runners-up:
    Todd Haynes, May December
    Christopher Nolan, Oppenheimer

    Best actor: Andrew Scott, All of Us Strangers
    Runners-up:
    Jeffrey Wright, American Fiction
    Cillian Murphy, Oppenheimer

    Best actress: Sandra Hüller, Anatomy of a Fall and The Zone of Interest
    Runners-up:
    Emma Stone, Poor Things
    Lily Gladstone, Killers of the Flower Moon

    Best supporting actor: Charles Melton, May December
    Runners-up: Robert Downey, Jr., Oppenheimer, and Ryan Gosling, Barbie (tie)

    Best supporting actress: Da’Vine Joy Randolph, The Holdovers
    Runners-up:
    Penélope Cruz, Ferrari
    Rachel McAdams, Are You There God? It’s Me, Margaret

    Best screenplay: Samy Burch, May December
    Runners-up:
    Celine Song, Past Lives
    David Hemingson, The Holdovers

    Best cinematography: Rodrigo Prieto, Killers of the Flower Moon
    Runners-up:
    Łukasz Żal, The Zone of Interest
    Hoyte van Hoytema, Oppenheimer

    Best experimental film: Jean Luc-Godard’s Trailer of a Film That Will Never Exist: Phony Wars

    Film heritage award: Criterion Channel

    Film heritage award: Facets, Kim’s Video, Scarecrow Video and Vidiots

    Special citation for a film awaiting U.S. distribution: Víctor Erice’s Close Your Eyes

    This story was first published on Jan. 6 at 10:05 a.m.

    Hilary Lewis

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  • Will ‘Oppenheimer,’ ‘Killers of the Flower Moon,’ or ‘Barbie’ Be Crowned Best Picture?

    Will ‘Oppenheimer,’ ‘Killers of the Flower Moon,’ or ‘Barbie’ Be Crowned Best Picture?

    Many industry folks, some of whom are no doubt Oscar voters, are grateful to Nolan for all that he’s done for the business: tethering auteur-ish prestige to marketability, vocally resisting the streaming incursion. That, coupled with the fact that Nolan is widely seen as overdue for his first Oscar, makes him a strong best director contender. But Oppenheimer as a whole should not be discounted. It may not be as screener-friendly as some of its competitors, but Oppenheimer has enjoyed one of the defining film narratives of 2023. A best picture win would be a fitting end to that story.

    As for the other half of the summer box office equation, Greta Gerwig’s Barbie made more money than Oppenheimer, most of it without the advantage of IMAX pricing. It’s not a weighty, masculine affair like Oppenheimer—which better fits the traditional best picture mold—but Barbie’s difference is probably its greatest asset. Gerwig’s film created a new version of branded filmmaking, swaddling its IP commercialism in sociopolitical commentary. If 2023 becomes known for one film, it will be Barbie, a movie that leaned into its cynical origins hard enough that it broke through to some other realm.

    But maybe the Academy, or at least enough of the Academy, isn’t quite ready for that seismic shift. They could, instead, turn to Bradley Cooper’s Maestro, a Leonard Bernstein biopic that is comfortably recognizable as an old-fashioned awards movie while still taking artistic swings. Cooper is mesmerizing in the lead role, as is his costar, Carey Mulligan. While reviews for the film may be somewhat muted, the stars have been almost universally praised. Which might mean that Maestro’s best chances are in the acting categories—or, the film, buoyed by its beloved performances, could snatch best picture as a popular tiered-ballot second choice.

    At this year’s Venice Film Festival, Maestro was perhaps the glitziest competition entry. But it had a bit of its thunder stolen by Yorgos Lanthimos’s sex-happy bildungsroman Poor Things, a movie originally scheduled for release in early September but that was, in a bit of strange luck, pushed to the more prestigious climes of December. Poor Things is in much better position now, with time to build on the momentum created by its top-prize victory at Venice and sustained good notices from subsequent festivals.

    All of the filmmakers I’ve thus far mentioned have directed best picture nominees in the past. So what of the new class? First-time filmmaker Celine Song had a debut for the ages in Past Lives, a Sundance breakout that was a modest summer hit for A24. A decades-spanning romantic drama, Past Lives is gauzy and gentle but far from insubstantial. It offers a bleary, soul-stirring consideration of immigration and aging, animated by lovely performances from Greta Lee, Teo Yoo, and John Magaro.

    Jonathan Glazer is perhaps one of the cinéaste world’s most respected filmmakers, despite having made only four films. His latest is The Zone of Interest, a Holocaust movie focused on the perpetrators rather than the victims. Glazer’s film is harrowing, operating at a clinical remove but certainly not spare in style or effect. The Zone of Interest is such a visceral statement of artistic vision that even the more art-film-averse members of the Academy might embrace it. The Zone of Interest took second place at Cannes; the Palme d’Or winner was Justine Triet’s Anatomy of a Fall, an electrifying drama starring best actress contender Sandra Hüller, who also plays a supporting role in Glazer’s film. Anatomy has played like gangbusters at subsequent film festivals—a frequent Telluride talking point, a hot-ticket sensation at Toronto—and may be the best positioned of any non-American film.

    Richard Lawson

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  • Celine Song’s Past, Present, and Future

    Celine Song’s Past, Present, and Future

    When writer-director Celine Song broke down in tears one day on the set of Past Lives, the crew assumed it was because the scene, eerily close to her own childhood experience, was overwhelming her. They were in South Korea, filming the flashback moment when the 12-year-old protagonist of Past Lives, Nora, says goodbye to her childhood best friend, Hae Sung, as she and her family prepare to emigrate to Canada.

    In reality, it was the sun that got to Song. Unable to get the light she was hoping for, she was upset not about her past but about her present: the pressure she felt to get her very first movie right. “This film is unbelievably personal to me, of course, in the conception of it, but it is unbelievably personal to me because it is a discovery for me as an artist,” says Song. “This is what I’ve always been meant to do. I just feel at home here.”

    It’s fitting that Song, who previously found success as a playwright in New York, uses the word home to describe her directorial debut. Past Lives is about what home is, in so many ways. Song’s script, inspired by her own life, follows Nora, a writer living in New York whose childhood sweetheart comes to visit her, opening her up to a tense exploration of her past, her identity as an adult, and the meaning of love.

    Intimate yet sweeping, Past Lives was the breakout of the 2023 Sundance Film Festival, drawing praise not just for Song’s distinctive storytelling and visuals, but for the performances from stars Greta Lee, John Magaro, and Teo Yoo. “The fact that all these audiences globally are responding to it, and it’s a personal conversation they’re having with the film, is really amazing,” says Song. “This makes me feel less lonely, and that’s what you dream of as an artist: that your work, when it’s in the hands of the world, makes yourself feel less lonely.”

    John Magaro costars as Nora’s husband.Courtesy of A24.

    Song talks about love a lot—and not just because Past Lives is a modern take on the classic love triangle. In our conversations she’s quick to use love as a metaphor for many things, including her romance of more than 10 years with the city of New York and her recent breakup with the theater world.

    Song moved to New York from Ontario to attend Columbia University, where she earned her MFA in playwriting in 2014. The daughter of artists (her mother is an illustrator and graphic designer and her father a filmmaker), she says she always knew she wanted to be a writer and remembers writing a poem about a spider eating a butterfly while she was still living in Korea—“I think it was before I emigrated, so it was before I was 12,” she says. She considered being a copywriter or something else in journalism but zeroed in on dramatic writing while in New York.

    The city plays a prevalent role in Past Lives, as Nora (Lee) takes Hae Sung (Yoo) around the city, from the Statue of Liberty to Jane’s Carousel to Madison Square Park. For Nora, Hae Sung represents a home left behind and a life (and love) that could have been, but it’s also clear that New York—and her husband (Magaro)—are now home. Song seems to feel the same about the city, despite its flaws. “There are rats in the streets and lantern flies are everywhere and it’s flooding, so it’s really hard to imagine that you can love New York that much,” she tells me, breaking into a smile. “But sometimes you just feel like New York loves you because it’s really just a feeling, just a certain sunlight going through the buildings. But you know that New York wouldn’t give a shit if you left. So it’s this amazing thing of being loved by somebody who doesn’t need you at all.”

    Rebecca Ford

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  • 2023 Gotham Awards: Winners List (Updating Live)

    2023 Gotham Awards: Winners List (Updating Live)

    The 2023 Gotham Awards are being presented at a star-studded ceremony at New York’s Cipriani Wall Street on Monday night.

    Going into the ceremony, Past Lives, A Thousand and One and All of Us Strangers are the leading film nominees, with Past Lives and A Thousand and One each scoring three nods, including in the top category of best feature. All of Us Strangers, though not up for best feature, is nominated for a leading four awards.

    Other best feature nominees are Passages, Reality and Showing Up.

    In the TV categories, Beef leads with three nominations, with Anne Rice’s Interview with The Vampire, I’m a Virgo, Swarm, A Small Light, The Last of Us, The English and Dead Ringers each scoring two nods.

    Since 2021, the Gotham Awards has recognized performers in gender-neutral categories.

    In addition to the competitive categories, the Gotham Awards is honoring a number of films with previously announced accolades: Killers of the Flower Moon is receiving the Gotham Historical Icon & Creator Tribute; Barbie is being recognized with the Global Icon & Creator Tribute; Ferrari received the Icon & Creator Tribute for Innovation; Rustin received the Cultural Icon & Creator Tribute for Social Justice; Air took home the Visionary Icon & Creator Tribute; and Maestro is receiving the Cultural Icon & Creator Tribute.

    Writer Alex Convery accepted on behalf of Air, noting, “The movie really is about knowing your worth and fighting for it, and this is something as artists we experienced firsthand as we walked the picket lines for over 200 days this summer. It was long and grueling, but we made it through and we showed the world that we know what we’re worth.”

    Adam Driver presented Ferrari director Michael Mann with his honor, telling a story about when Mann left his wallet in a 7-Eleven and rather than waiting at a red light to get back to the store, got out of his car and ran across a major L.A. intersection. “It actually was a moment where I felt I really saw Michael; if he does this with lost time on a wallet, how does it translate to being on a film set?” Driver said, explaining how the director “doesn’t want anything to get in the way of what he’s trying to do, including himself.” Mann dedicated the award to late Ferrari screenwriter Troy Kennedy Martin, saying, “He’s really the heart and the core of the innovation.”

    Gotham Award nominees are selected by committees of film and TV critics, journalists, festival programmers and film curators.

    Separate juries of writers, directors, actors, producers, editors and others directly involved in making films will determine the final award recipients.

    Recent Gotham Award winners have included Oscar winners Everything Everywhere All at Once, CODA, Nomadland, Marriage Story, American Factory, Moonlight, Spotlight and Birdman.

    A complete list of this year’s Gotham nominees follows. Winners will be noted as they’re announced live. Refresh for the latest.

    Best Feature

    Passages
    Ira Sachs, director; Saïd Ben Saïd, Michel Merkt, producers (MUBI)

    Past Lives
    Celine Song, director; David Hinojosa, Pamela Koffler, Christine Vachon, producers (A24)

    Reality
    Tina Satter, director; Brad Becker-Parton, Riva Marker, Greg Nobile, Noah Stahl, producers (HBO Films)

    Showing Up
    Kelly Reichardt, director; Neil Kopp, Vincent Savino, Anish Savjani, producers (A24)

    A Thousand and One
    A.V. Rockwell, director; Julia Lebedev, Rishi Rajani, Eddie Vaisman, Lena Waithe, Bred Weston, producers (Focus Features)

    Best International Feature

    All of Us Strangers
    Andrew Haigh, director; Graham Broadbent, Peter Czernin, Sarah Harvey, producers (Searchlight Pictures)

    Anatomy of a Fall
    Justine Triet, director; Marie-Ange Luciani, David Thion, producers (NEON)
    (WINNER)

    Poor Things
    Yorgos Lanthimos, director; Ed Guiney, Yorgos Lanthimos, Andrew Lowe, Emma Stone, producers (Searchlight Pictures)

    Tótem
    Lila Avilés, director; Lila Avilés, Tatiana Graullera, Louise Riousse, producers (Sideshow/Janus Films)

    The Zone of Interest
    Jonathan Glazer, director; Ewa Puszczynska, James Wilson, producers (A24)

    Best Documentary Feature

    20 Days in Mariupol
    Mstyslav Chernov, director; Raney Aronson-Rath, Mstyslav Chernov, Derl McCrudden, Michelle Mizner, producers (PBS Distribution)

    Against the Tide
    Sarvnik Kaur, director; Koval Bhatia, Sarvnik Kaur, producers (Snooker Club Films, A Little Anarky Films)

    Apolonia, Apolonia
    Lea Glob, director; Sidsel Lønvig Siersted, producer (Danish Documentary Production)

    Four Daughters
    Kaouther Ben Hania, director; Nadim Cheikhrouha, producer (Kino Lorber) (WINNER)

    Our Body
    Claire Simon, director; Kristina Larsen, producer (Cinema Guild)

    Breakthrough Director Award, Presented by Cadillac

    Raven Jackson, All Dirt Roads Taste of Salt (A24)

    Georgia Oakley, Blue Jean (Magnolia Pictures)

    Michelle Garza Cervera, Huesera (XYZ Films)

    Celine Song, Past Lives (A24)

    A.V. Rockwell, A Thousand and One (Focus Features)

    Best Screenplay

    All of Us Strangers, Andrew Haigh (Searchlight Pictures)

    Anatomy of a Fall, Justine Triet, Arthur Harari (NEON) (WINNER)

    May December, Samy Burch (Netflix)

    R.M.N., Cristian Mungiu (IFC Films)

    The Zone of Interest, Jonathan Glazer (A24)

    Outstanding Lead Performance

    Aunjanue Ellis-Taylor, Origin (NEON)

    Lily Gladstone, The Unknown Country (Music Box Films)

    Greta Lee, Past Lives (A24)

    Franz Rogowski, Passages (MUBI)

    Babetida Sadjo, Our Father, The Devil (Cineverse)

    Andrew Scott, All of Us Strangers (Searchlight Pictures)

    Cailee Spaeny, Priscilla (A24)

    Teyana Taylor, A Thousand and One (Focus Features)

    Michelle Williams, Showing Up (A24)

    Jeffrey Wright, American Fiction (Orion Pictures / Amazon MGM Studios)

    Outstanding Supporting Performance

    Juliette Binoche, The Taste of Things (IFC Films)

    Penélope Cruz, Ferrari (NEON)

    Jamie Foxx, They Cloned Tyrone (Netflix)

    Claire Foy, All of Us Strangers (Searchlight Films)

    Ryan Gosling, Barbie (Warner Bros. Pictures)

    Glenn Howerton, BlackBerry (IFC Films)

    Sandra Hüller, The Zone of Interest (A24)

    Rachel McAdams, Are You There God? It’s Me, Margaret (Lionsgate)

    Charles Melton, May December (Netflix)

    Da’Vine Joy Randolph, The Holdovers (Focus Features)

    Breakthrough Series – Under 40 minutes

    Beef, Lee Sung Jin, creator; Ravi Nandan, Alli Reich, Jake Schreier, Ali Wong, Steven Yeun, executive producers (Netflix)

    High School, Clea DuVall, Sara Quin, Tegan Quin, creators; Clea Duvall, Dede Gardner, Laura Kittrell, Jeremy Kleiner, Sara Quin, Tegan Quin, Carina Sposato, executive producers (Amazon Freevee)

    I’m A Virgo, Boots Riley, creator; Tze Chun, Michael Ellenberg, Marcus Gardley, Carver Karaszewski, Jharrel Jerome, Boots Riley, Rebecca Rivo, Lindsey Springer, executive producers (Prime Video)

    Rain Dogs, Cash Carraway, creator; Cash Carraway, Sally Woodward Gentle, Lee Morris, executive producers (HBO | Max)

    Swarm, Donald Glover, Janine Nabers, creators; Ibra Ake, Donald Glover, Stephen Glover, Janine Nabers Jamal Olor, Steven Prinz, Michael Schaefer, Fam Udeorji, executive producers (Amazon Studios)

    Breakthrough Series – Over 40 minutes

    Anne Rice’s Interview with the Vampire
    Rolin Jones, creator; Mark Johnson, Rolin Jones, Anne Rice, Christopher Rice, Alan Taylor, executive producers (AMC)

    Dead Ringers
    Alice Birch, creator; Alice Birch, Anne Carey, Sean Durkin, Megan Ellison, Erica Kay, Ali Krug, Sue Naegle, Stacy O’Neil, David Robinson, James G. Robinson, Polly Stokes, Barbara Wall, Rachel Weisz, executive directors (Prime Video)

    The English
    Hugo Blick, creator; Hugo Blick, Emily Blunt, Greg Brenman, executive producers (Prime Video)

    The Last of Us
    Craig Mazin, Neil Druckmann, creators; Neil Druckmann, Craig Mazin, Rose Lam, Asad Qizilbash, Carolyn Strauss, Carter Swan, Evan Wells, executive producers; (HBO | Max)

    A Small Light
    Tony Phelan, Joan Rater, creator; Susanna Fogel, William Harper, Avi Nir, Tony Phelan, Joan Rater, Lisa Roos, Alon Shtruzman, Peter Traugott, executive producers (National Geographic)

    Telemarketers
    Adam Bhala Lough, Sam Lipman-Stern, directors; Nancy Abraham, Dani Bernfeld, David Gordon Green, Lisa Heller, Jody Hill, Brandon James, Sam Lipman-Stern, Adam Bhala Lough, Danny McBride, Tina Nguyen, Benny Safdie, Josh Safdie, Greg Stewart, executive producers (HBO | Max)

    Outstanding Performance in a New Series

    Jacob Anderson, Anne Rice’s Interview with The Vampire (AMC)

    Dominique Fishback, Swarm (Amazon Studios)

    Jharrel Jerome, I’m A Virgo (Prime Video)

    Natasha Lyonne, Poker Face (Peacock)

    Bel Powley, A Small Light (National Geographic)

    Bella Ramsey, The Last of Us (HBO | Max)

    Chaske Spencer, The English (Prime Video)

    Rachel Weisz, Dead Ringers ((Prime Video)

    Ali Wong, Beef (Netflix) (WINNER)

    Steven Yeun, Beef (Netflix)

    Hilary Lewis

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  • The Bold Gambles Behind ‘Nyad,’ ‘Past Lives,’ and ‘Cassandro’

    The Bold Gambles Behind ‘Nyad,’ ‘Past Lives,’ and ‘Cassandro’

    Making narrative films for the first time, the directors of three major Oscar-contending films weren’t quite sure how to work with actors or let go of their favorite real-life details—but there were also hurdles they never saw coming.

    Rebecca Ford

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  • Video: ‘Past Lives’ | Anatomy of a Scene

    Video: ‘Past Lives’ | Anatomy of a Scene

    “Hi, my name is Celine Song, and I’m the writer and director of ‘Past Lives.’” [MUSIC PLAYING] “So the scene is between Hae Sung, who’s played by Teo Yoo, and Nora, who is played by Greta Lee, and it’s about these two characters who haven’t seen each other in person in 24 years. And they’re sort of reuniting in New York. And the focus of the scene is about the way that Hae Sung looks so lost and alone and very small in New York City, in the city that is foreign to him. It’s a city that he’s here as a tourist. And the thing that we’re, of course, trying to capture here, is a kind of sense of anxiety and excitement. It’s some kind of a mix of both of waiting for your old friend that you haven’t seen in a long time. And he doesn’t know what to expect. And we wanted him to look like a kid in the scene. You know, him as he’s touching his hair to fix it, because he just wants to leave a good impression. And we’re really talking about capturing this moment where Nora is going to shout his name and he’s going to turn. And this whole shot was set up for this turn.” [CAR HORNS] “Hae Sung!” “And then we get to actually experience his sort of stunnedness or awe as he is seeing Nora. And the way that I sort of wrote this in the script, is that it’s as though he is seeing a ghost, and she’s also seeing a ghost. They’re sort of seeing a ghost in each other. And not only is this ghost, a real person who’s physical, she’s also walking towards him. And it’s meant to be a little bit terrifying.” [FOOTSTEPS] – [NON-ENGLISH SPEECH] “So this is the moment in the past for them where they were childhood sweethearts. And I think for that moment, that viscerally, you’re sort of transported back in time. And Nora here is sort of breaking the barrier between them and crossing over. And the sound design for this is also about New York crashing down on them as she reaches over to hug him.” [TRAFFIC] [CAR HORNS] “There’s very little dialogue in the scene. So, so much of it had to happen through the way that they’re living with this moment and trying to navigate how they feel. And this particular shot is something that me and my DP, Shabier Kirchner, were sort of pulling from a Kore-eda trick, which is what we call the swinging camera. Where here, we’re with Hae Sung, and we’re so happy to see him and we’re excited to experience this through him, but we miss Nora. So, the camera moves so that we can see Nora.” – [NON-ENGLISH SPEECH] [MUSIC PLAYING] “And now we’re so happy to see Nora and we’re just happy to experience this moment with her. And, but we’re happy to be here, but we also start to miss Hae Sung, so there’s a little bit of longing that gets built. And then we move over and we see Hae Sung again. And we’re so happy to see Hae Sung. And I think that feeling is really the thing that we were after for what we wanted this to be. Because now we’re going to miss Hae Sung again, and we’re so happy to see Nora. And this is the kind of emotional state that we want to put the audience, of longing and also glad to see someone, which is sort of what the heart of the scene is. And of course, they’re so happy, and we sort of walk them out of the scene.” – [NON-ENGLISH SPEECH] – [NON-ENGLISH SPEECH] – [NON-ENGLISH SPEECH] – [NON-ENGLISH SPEECH] [LAUGHS]

    Mekado Murphy

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