In review

Celine Song’s directorial debut is a masterpiece of emotional restraint revealing multiple sides of love. Song hand-picked the cast which excels portraying this gripping story that has its light moments as well as intense drama in a clash of cultures over time. This film is touching, yet sometimes emotionally frustrating as it examines the childhood relationship lost, but one that could have been.

Director Song is skillful writing and directing scenes where there is an evident undercurrent of apprehension and jealousy. We learned in a live Q & A at our screening that Song kept the actors apart so they would also bring the awkwardness of their relationships to their acting, which is very effective. 

Na Young (Greta Lee, Russian Doll, The Morning Show) and Hae Sung (Teo Woo, TV’s Decision to Leave, The Window,) are soul mates. They were inseparable as kids in South Korea, laughing and playing together until middle school. She loves to write and dreams of winning the Nobel prize some day. Hae Sung wants to be an engineer. But Nora’s father, a film director, decides to emigrate with the family to Canada for new opportunities. They both thought they were “in-yun” destined to be with each other forever. The scene of the two children crying as the family left shot through the car mirror are heartbreaking.

As young adults they renew their friendship virtually through Skype video calls. The iconic audio tones of Skype place the time as they enjoy each others company. But time and distance prove a barrier neither can overcome and Na Young breaks her and Hae Sung’s hearts as she stops the calls.

In the meantime, Na Young had changed her name to Nora becoming a writer. She goes on a writing residency in New York and meets fellow writer, Arthur (John Magaro). they fall in love and get married, living in New York City. More years pass and Hae Sung finds Nora through Facebook and after not seeing each other for decades, they communicate. Both are busy, but he decides to come for a visit. He is handsome, smart and genuinely cherishes the relationship they had as children. Their meeting is awkward, he doesn’t speak much English and she’s not up to speed with her Korean, and she has to translate for Arthur. Lee as Nora, easily runs the gamut of motions without missing a beat. Slight changes in her expressions say so much.

Magaro as Arthur looks uneasy with Nora’s past relationship. But so is she. There is a scene in front of a carousel in New York where Lee as Nora shows awkward confusion and discomfort, when Hae Sung is looking away. But when he turns to her, she gives a little smile. Their lives have just changed too much. But by the time the visit is over, they both are lamenting the loss of what they had and what might have been. 

Magaro delivers a remarkable low-key, but empathetic performance as Nora’s husband. He’s just as uneasy about the situation, but sensitive and loving watching his wife with someone who could have been a rival.

Song directs Cinematographer Shabler Kirchner well, keeping the camera at a distance, without a lot of tight shots. They’re mostly shots of 2 people at a time and in profile so you can see both sides of reacting to each other. Even more important is the restraint they show with pauses between dialogue, just looking at each other. It’s all very subtle, but compelling.

This is one well-written and directed bittersweet romantic drama by a first-time director that will keep you totally engrossed. Song successfully keeps the emotion from Greta Lee, Tea Woo, and John Magaro bottled up so well to the very end of the film. Tissue recommended, as it may strike that chord inside you as well. 

A24       1h 46 minutes       PG-13

  

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