PAST LIVES

Online ticket sales end at 4PM on September 13. Remaining tickets will go on sale when the doors open at 7:30.  Nora and Hae Sung, two deeply connected childhood friends, are wrested apart after Nora’s family emigrates from South Korea. Two decades later, they are reunited in New York for one fateful week as they confront notions of destiny, love, and the choices that make a life. 2023, USA/South Korea, 105 minutes, rated PG-13

Stay for a discussion after the screening with Juliana Roth, a writer, filmmaker, and performer. She currently teaches writing at New York University and is a 2022-23 Susan Kamil Emerging Writer Fellow at The Center for Fiction. Rivertown Film streamed her web series, The University, with the Center for Safety and Change, in June 2020.

“Past Lives” is a wistful what-if story about two people, the children they were and the adults they become. The movie follows them through the years and across assorted reunions, separations and continents as well as milestones momentous and ordinary. It’s a tale of friendship, love, regret and what it means to truly live here and now. In a sense it is a time-travel movie, because even as the two characters keep moving forward, they remain inexorably tethered to the past, which means it’s also a story about everyday life.” Critic’s Pick.  – The New York Times

“A soaring, decades-spanning romance that will make you catch your breath.” – The Hollywood Reporter.

“A confident entry in the canon of great romances—one that expands the emotional scope of what a love story can be.” – The Atlantic

“Celine Song makes a quietly spectacular writing-directing debut with Past Lives, a lyrical slow burn of a film that expertly holds back wellsprings of emotion, until it unleashes a deluge.” – Washington Post

“A movie that liberates your tears and makes you fall in love with it. It is almost assuredly predestined to be the single best movie you see this year.” – Rolling Stone

“The movie ripples with the quiet melodrama of real life, the way big things often happen in the margins, and small things gradually come to mean the world.” – TIME

“Past Lives, folding two decades into less than two hours, is as swift and fleet as it is emotionally and philosophically expansive.” – Los Angeles Times

“Heads up, Oscar. Celine Song crafts the best movie of the year so far by using her own life to explore the meaning of destiny as a Korean playwright (the glorious Greta Lee) is torn between a past love (Teo Yoo) and her American husband (John Magaro).” – ABC News

“A film that could have settled for being a masterclass in technique, but instead goes deeper, exploring questions of artistry, authorship, legacy.” NPR

“Had The Christophers just been a cross-generational punch-up, the sort of flinty showdown designed to throw off pleasurable sparks, you’d still walk away content. It remains a conduit for two of the best performances you’ll see all year.” – David Fear, Rolling Stone

“The Christophers is largely a comedy, but it’s also about all that we gain and lose with age, and about how we sometimes need young people to bring us back to ourselves.” – Stephanie Zacharek, TIME

“Having lost the inspiration that guided him to greatness, Julian is an artist who can no longer paint, and Lori is an artist who has lost all confidence in there being a place for her work in the larger world. For all the undercurrents about fame, commodification, and reputation that flow through The Christophers, at its core is a more plaintive lament about what it feels like to love something that doesn’t love you back.” – Alison Willmore, Vulture

“Go see The Christophers. Show up, and support a tiny, talky experiment that has no relationship to IP or sequels or box-office projection. It’s not a perfect movie, but it’s also never, as Lori grudgingly notes about Julian’s work, uninteresting. And in this cultural moment, that’s an authentic win.” – Elizabeth Weitzman, Time Out

“The Christophers is a work of criticism that deftly distinguishes different approaches to criticism.” ­– Justin Chang, The New Yorker 

“Brims with hilarious dialogue, lightly satirical observations of a culture that treats art as a commodity, and satisfying payoffs to a number of story elements planted early on.” – Seth Katz, Slant Magazine

“In the end, this film about artists becomes a work of art in its own right. The more you look at it, the more its many components reveal themselves to you.” – Chase Hutchinson, The Wrap

“Ian McKellen plays Julian Sklar, a sardonic art legend who meets his intellectual match in frank preservationist Lori Butler (Michaela Coel). In a test of wits and wills held mostly in a single-setting, Soderbergh pushes both characters to return to their former passions through philosophical conversations that reflect his own career.” – Robert Daniels, Screen International

“It bats about ideas pertaining to art, commerce, ownership and legacy with dexterous aplomb and boasts two equally superb leads who make the material crackle.” – David Rooney, The Hollywood Reporter

“The Christophers is a talky, at times incredibly funny, comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, at least not strictly, but it’s unpredictable enough to never make us entirely sure just where it’s heading.” – Benjamin Lee, Guardian

“There’s no room for anything shy of genius in The Christophers, a crackling original drama about artistic legacy in all its facets, directed by Steven Soderbergh , from a script by Ed Solomon (No Sudden Move) and starring two top-notch English actors of wildly different backgrounds and styles, Ian McKellen and Michaela Coel, at the top of their respective games.” – Peter Debruge, Variety

“With Ian McKellen in superbly crotchety form and Michaela Coel exuding chilly cunning, it’s further proof that Soderbergh remains one of American Cinema’s most inimitable, and adventurous, auteurs. – Nick Schager, The Daily Beast