The most recent entry into A24’s screenplay books assortment examines the creation and influence of Celine Music‘s function directorial debut “Previous Lives.” The beloved function was IndieWire’s favourite movie of 2023 and earned Music a Finest Unique Screenplay nomination on the 2024 Oscars.
“Previous Lives” is a file of the movie’s creation, cut up into 5 chapters. The 86-page e book opens with an introduction by playwright Lynn Nottage. The primary part options Celine Music’s unique screenplay, offered in each English and Korean. Part Two presents movie stills shot by cinematographer Shabier Kirchner. “Somebody Who Knew Me When,” an essay by New York Occasions bestselling creator Sloane Crosley, appears to be like at that deceptively easy query: What may need been? whereas “Marriage Plot, Interrupted” by New Yorker workers author Doreen St. Félix considers how the movie escapes the strictures of the home drama.
The ultimate chapter — out there completely on IndieWire — incorporates a wide-ranging dialog between Music and creator Andrew H. Miller. You may learn it in full under. The e book is out right this moment.
SECTION V
“True Love Leaves No Traces”
A Dialog Between Celine Music and Andrew H. Miller
“Previous Lives” asks a deceptively easy query: What may need been? After all, there’s no such factor as a easy interrogation into the opposite lives we would have led—which is what prompted Andrew H. Miller to write down a whole e book on the subject. “On Not Being Somebody Else” (Harvard College Press, 2022) explores the way in which we view the roads not taken, whether or not it’s the particular person we didn’t marry, the job we didn’t take, or just the grocery retailer line we skipped (that’s instantly transferring a lot quicker). Miller sat down with Celine Music to speak about all which may have been, and what may nonetheless be.
Andrew H. Miller: “Previous Lives” is a film that’s stuffed with remorse and stuffed with reduction, some jealousy, some envy. However the dominant feeling for me is that this heartbreaking magnificence. How does magnificence matter? What function does it play for you?
Celine Music: Nicely, there’s nothing extra heartbreaking in life than magnificence. And a lot of that magnificence stems from the longing we really feel by dwelling the life we dwell. We’re all the time in pursuit of it on some stage, even simply these small, actually lovely moments. It doesn’t all the time must be an aesthetic achievement or one thing tangible, it may simply be a good looking feeling. You may have a good looking feeling in a really unattractive mall, for instance. Or possibly you’re in a extremely darkish and terrible place, or a horrible room, or in an area the place there’s loads of violence and one thing terrifying is going on, however possibly the phrases you say to a different particular person there can comprise a lot magnificence. I actually consider that magnificence makes life price dwelling.
The clichés and the sayings about magnificence are often true, like how individuals say that magnificence is within the eye of the beholder. For Hae Sung and Nora, they’re each nonetheless kids in one another’s eyes. There’s magnificence in having the ability to see somebody that means. Within the last scene within the movie, for instance, the road that I used to be on the lookout for was meant to be probably the most lovely road in all of New York within the eyes of the beholders, the eyes of Nora and Hae Sung.
AM: Proper, a lot of the film is each terrifically extraordinary and terrifically lovely. You get this very extraordinary road in New York, nevertheless it’s additionally exquisitely lovely on the similar time.
CS: And it’s only lovely as a result of one thing very lovely has occurred there.
AM: It’s lovely for us. Is it lovely for Nora and for Hae Sung?
CS: It is extremely lovely for Nora and Hae Sung, and it’s even lovely for Arthur. To me, the corners of town that we dwell in or the locations we stroll by, the extra extraordinary they’re, the extra fully lovely they are often. Any individual else is strolling alongside the identical road, and it’s not going to imply something to them, however the identical nook goes to carry a lot that means and a lot magnificence for Nora and Hae Sung. That spot, in entrance of a storage, the place they’re ready for an Uber, is a spot that they’re going to think about and really feel one thing about for the remainder of their lives. There’s a complete magnificence there.
AM: It is going to be lovely for them. At that very second, even, they’re holding again tears. They’re feeling a lot—
CS: Sure, I feel they expertise all these emotions as one thing lovely. However completely different individuals discuss remorse very in a different way. I often discover when sharing “Previous Lives” with an viewers member—and I imply a person viewers member—that the movie very a lot works as a mirror to the place that particular person is of their life and what they’ve gone by means of as a result of, relying on the place they’re of their life, they’ll consider that one second as one which’s stuffed with remorse, or they’ll consider that second as one which’s stuffed with loads of peace. It actually does depend upon who’s watching it. Once more, it’s concerning the eye of the beholder. I’ve heard each response: I’ve heard all the pieces from “I might’ve gotten in that Uber” to “Thank God she stayed.” Each of these reactions are true—you’ll be able to really feel various things relying on the place you’re. So, once you mentioned to me earlier on this dialog that this movie is stuffed with remorse, I believed, “Nicely, what does this say about Andrew and the place he’s in his life?”
AM: It’s revealing.
CS: Proper. We’re all dwelling a life. All of us have a lot in frequent, however we’re every going by means of our time and area in a means that’s distinctive on the planet.
AM: We’re all dwelling one life.
CS: Sure. Sure. Precisely.
AM: Every of us desires in our personal language. One of many issues {that a} movie can do is say: There’s a physique right here, and there’s a physique right here, they usually’re separate.
CS: Utterly. Even on the deepest stage of intimacy you’re nonetheless going to know a language that’s distinctive to you—the language of your life. You’ve a really particular language since you’re dwelling the one life. In actual fact, no different human being can know what that’s, and subsequently there’s no different human being who can really choose it for what it’s both.
AM: One of many fantastic issues about cinema is that it needn’t make heavy climate of that. It’s a deep existential fact we’re speaking about right here, and you can describe it in language that may be very heavy, however your movie is saying: No, no. Right here’s an individual. Right here’s an individual. They’re collectively.
CS: Utterly.
AM: They’re in the identical metropolis on the similar time, however they’re separate. They’re collectively, they usually’re separate.
CS: I really feel like there’s that little hole between Nora and Hae Sung that speaks to the way in which we hook up with everybody. Sure, buddies. Sure, lovers. Sure, each different human being, too. There’s something that’s within the distance between these two characters that, all through the movie, all of us perceive. It’s a totally unknown area as a result of we really don’t know what it’s going to be prefer to cross it. That’s the chance—the alternate universe or dwelling the life that these two persons are dwelling, as a result of Nora and Hae Sung aren’t going to cross that area to go towards one another. On this life, they’re going to stay at arm’s size.
AM: Sure.
CS: Solely damaged at instances by a hug.
AM: Sure. Proper. By one hug that she initiates after which one hug that he initiates.
CS: Precisely.
AM: “Previous Lives” has been put in a lineage with the movies of Yasujirō Ounces and with Wong Kar-wai’s “Within the Temper for Love” (2000). You’ve mentioned that it’s been an honor to be put in that lineage, however that every of these motion pictures defies comparability, as “Previous Lives” defies comparability. I discovered myself considering of Mike Leigh’s “One other 12 months” (2010), and the way in which that he elicits the type of appearing the place you actually really feel the presence of the actor. You assume: This actor is correct right here, proper now. There’s an absolute specificity to his characters. I used to be questioning if Mike Leigh issues to you—
CS: Oh, a lot. He issues a lot to me.
AM: How so?
CS: He means a lot to me as a result of I really feel like the guts of his work is so related to what I consider basically, which is that there’s nothing larger in scale than the human life that everyone within the viewers can hook up with, captured on display screen as it’s. We are able to discuss concerning the scale of a movie and the way cinema is about dwelling in several worlds than those we dwell in presently, and I get very enthusiastic about these issues, too. I’m an enormous fan of sci-fi and an enormous fan of fantasy. However Mike Leigh is so concerned about capturing the completely extraordinary emotions that may occur in a completely mundane expertise. After watching a Mike Leigh movie, I really feel like my life is a lot extra vital and stuffed with extra magnificence, complexity, darkness, and perfection than I believed. It’s all the time life-affirming.
AM: It’s such a present. Such a present to the viewers.
CS: It’s a present. I really feel very cherished and really seen by his movies, if that is smart. In the way in which that it’s within the eye of the beholder, I really feel very lovely due to the way in which that his movies see my very extraordinary life. A lot of what I discover purposeful about cinema or making artwork goes to all the time come down to like. It’s a cliché, however they are saying love is the best factor in life. Nicely, part of that’s having the ability to discuss love, and I don’t simply imply romantic love, I imply love that we simply expertise in life. Even when it’s from a pal, from a father or mother, from somebody you’re employed with, no matter it might be, regardless of the feeling of being seen and understood, I feel that alone is price depicting as a result of in life it’s sadly extra uncommon than it ought to be.
AM: The psychologist Adam Phillips as soon as mentioned, “The loss of life of God is the loss of life of somebody who is aware of who you’re.”
CS: That’s fantastic.
AM: There’s such a robust, highly effective need to be recognized. So if a movie can convey that or recommend that—
CS: There’s nothing holier… There’s a holiness to Leigh’s movies due to that. I all the time really feel so seen by his movies despite the fact that in fact I don’t possibly share the identical background or… It’s not about illustration.
AM: I’m not Korean…
CS: Yeah, precisely. It’s not about being seen in a literal means. It’s about being seen in your soul.
AM: There may be that extraordinary second in the beginning of “Previous Lives” the place we’ve our proxy voices as viewers there—the couple who’s watching this movie that’s beginning, they usually’re saying, “Who’re these individuals? Who’re they to one another?” Then Greta [Lee] appears to be like proper at us, and we predict: Oh my God, I’m being seen.
CS: Completely. Nicely, you’re being requested to see her, as a result of that’s what the reality is. It begins with the thriller of who she is and what her life is, and what she’s asking in that second is to be seen. This is among the scenes that I talked to Greta about probably the most. When she has to interrupt the fourth wall and take a look at the digital camera, she needs to be each completely open and completely mysterious. It’s speculated to be a Mona Lisa factor of: I defy your try and know me, and I’m additionally going to welcome you into really attending to know me. That’s very completely different from: Yeah, here’s a checklist of the issues that I’m. What she’s telling us is: I’m going to allow you to—and I imply the viewers whose proxy is these voices—I’m going to allow you to really dwell by means of my life, by means of this film… after which on the finish of it, you’re going to see me. That’s a really completely different factor than if she had been to simply describe herself extra actually as, say, Korean American. She will say loads of phrases to explain who she is, however, the truth is, what she’s saying is, “No, really, I’m going to allow you to into part of my life, not all of it, however a part of my life, and on the finish of it you’re going to see me. And the subsequent time you’re again on this scene, the subsequent time you’re again on this second, on this movie, you’re not simply going to take a look at me, you’re going to see me, and also you’re going to like me, and also you’re going to like these two individuals you don’t know.” What I imply by love… it’s not about likeability, it’s about understanding—
AM: Recognizing someone’s specific humanity?
CS: Sure.
AM: That’s outstanding that you just say that as a result of she is so… authoritative isn’t the precise phrase, however she controls a lot within the film from the start. As an example, the second the place she says to Arthur, “We are saying In-Yun to seduce you.”
CS: Yeah. Nicely, it’s a narrative about her life—insofar as she will management her personal life, the way in which that we’re authors of our personal life. I definitely don’t assume that’s doable for everybody on a regular basis, which is the place every kind of dehumanization is going on on the planet. However in Nora’s scenario, she’s dwelling a really glad life, and subsequently she has an excessive amount of authority in her life. However there’s a humorous wrinkle in her in any other case relentless management and energy over her personal life, which is Hae Sung coming to go to. It’s so innocuous. It feels prefer it shouldn’t disrupt a single factor.
AM: She says, “Why did you try this?”
CS: Yeah. “Why’d you come?”
AM: Films and novels and poems which might be about lives we may have lived however didn’t are inclined to fall in patterns. Marriage. “Oh, if I had married this particular person as an alternative of that particular person.” Profession. Kids. I may have had kids—I didn’t have kids. Emigrating. “If solely we stayed in Seoul…” In “Previous Lives,” the wedding is below query in a means, or she’s fascinated by different prospects, or the film’s fascinated by presenting different prospects, or a minimum of Hae Sung is presenting different prospects. She even says, “You assume I’m going to throw away my life? You assume I’m going to surrender my rehearsals for you?”
CS: I’m unsure how disparate these items are. What I imply is that they’re so related. Why does Nora dwell in New York? She lives in New York due to her profession and her profession is so related to who she is. She’s married to this particular person she is in love with as a result of her life in New York makes it doable to marry him. I don’t know for those who can separate one factor from the opposite. After which, in fact, she is just not someone who’s in any means suitable with who Hae Sung is. Somebody must hand over their life for the 2 of them to be collectively. He has a specific job, a specific life, language, nation… I might not suggest that these two individuals get collectively. To me, that’s the crux of it.
AM: You probably did what you can to stop it, as a matter of reality, very efficiently.
CS: Yeah, in fact. However that’s probably not the purpose of their connection, as a result of love doesn’t essentially have to have a sensible finish or a contented ending that’s legible or tangible. There’s a track that I used to be fascinated by a lot, the Leonard Cohen track he made with Phil Spector referred to as “True Love Leaves No Traces.” I take into consideration that track as the guts of this specific movie as a result of it’s about the way in which that Hae Sung and Nora’s connection has nothing tangible in it. There’s nothing sensible in it—there’s not even a really correct path by means of it. Once they cut up on the fork within the highway, their love story stopped. In actual fact, that’s why, when their flashback occurs, they’re proper again in that spot, as if they’ve been ready at that nook for twenty-four years.
AM: Proper, on the very finish?
CS: Sure, and since they’ve been ready in that nook for twenty-four years, all they want is to get this correct goodbye—and as soon as that occurs the movie can finish. I feel there’s a hazard in what we do as trendy individuals, which is to guage completely different connections after which assign significance: “They’re only a pal,” or, “They’re only a childhood pal, and also you’re my boyfriend,” or, “You had been only a boyfriend—now you’re my husband.” We are inclined to assign completely different meanings and values to sure relationships, which then flattens the connections we would have. However the fact is that the guts of each connection is its very personal factor. You may’t ask Arthur, for instance, to have the connection that Nora has with Hae Sung, and you may’t ask Hae Sung to have the type of connection that Nora and Arthur have. Each single considered one of their conversations goes to be completely different, and it’s heartbreaking that Nora gained’t get to have the tens of millions and tens of millions of conversations that she may have with Hae Sung on this specific life. However of their place, she’s in a position to have these sorts of conversations with Arthur, which might be completely different than with Hae Sung–not higher or worse, however completely different as a result of he’s a unique particular person and their love is exclusive to the 2 of them.
AM: And her mother says, “Whenever you go away one thing behind, you get one thing,” or one thing like that.
CS: Precisely. To me, it’s like he’s providing an choice right here. I’m like, “What choice? Her life is what it’s.” And by the way in which, the film may have posed a unique query: “Is there one thing lacking in her life that she’s making an attempt to unravel by operating away with someone else?” However that’s not the purpose of the movie.
AM: It’s easier than that. That is simply the way in which life works.
CS: That is the way in which life is, and that is the life that Nora resides. It doesn’t imply that the sensation she will get when she sees someone who reminds her of herself as a little bit woman, who she in all probability didn’t actually assume was essential, who she by no means bought to say a correct goodbye to, and someone who continues to be in love with that little woman… that’s such a robust feeling. You may all the time say to her, “How may you do that? You’re married.” You may say one million various things to show that relationship or flip that connection into one thing that everyone can perceive. However the fact is it’s so simple as the sensation she will get when the 2 of them are taking a look at one another, which is: Oh, I bear in mind you once you had been a child, and we had been so in love as kids. It may be so simple as that. There’s nothing else which you could ask of that, and you may’t count on that connection to develop into one thing greater than what it was.
AM: That’s such a robust perception about love.
CS: That’s the factor about love within the film—it’s not about “romance” in the way in which that we give it some thought. It’s about one thing else fully. It’s concerning the universality of affection, the way it’s about recognizing somebody’s humanity and understanding their particularity.
AM: To consider different prospects is human.
CS: It’s fully human. Even within the grocery line, you assume, “I’d have been out of right here 5 minutes in the past if I had gotten within the different line.” It’s a part of the human creativeness. There’s nothing you are able to do about it, nevertheless it’s a really highly effective factor, too, as a result of it permits us to empathize with the one who bought in the precise grocery line. Should you take that additional, possibly someone has gone by means of a sure expertise that I don’t know something about however that I can hook up with by means of cinema. The flexibility to have empathy is so related to our potential to consider the lives that we don’t dwell. A part of why “Previous Lives” has resonated with individuals from so many alternative international locations is the universality of its core idea. As I used to be sharing the film with the worldwide viewers, I bought to listen to individuals in all completely different international locations pronounce the phrase In-Yun in their very own accent. An Italian interviewer or fan of the movie will need to discuss to me about In-Yun, however will say the phrase with an Italian accent. Or a Japanese accent. There are such a lot of alternative ways which you could say that phrase on the planet, however everyone knows what that phrase is universally. This movie related with individuals who haven’t precisely lived the way in which that Nora has and even made selections that she has, and that could be a very particular factor I really feel so fortunate to have skilled on my first movie.
AM: I’ve been questioning concerning the beliefs you will have about your work and what you concentrate on when it’s completed. Susan Sontag has this line—
CS: Oh, geez. I do know it.
AM: Critics, after they’re speaking about artistic endeavors, appear to say that an ideal murals is a murals during which nothing may be modified. Any change would make it worse. Nonetheless, the artist is aware of that it’s depending on contingency, on likelihood, on whether or not or not there’s a fireplace truck throughout the road once you’re filming, on whether or not it’s raining. On the one hand, life is simply stuffed with chaos and likelihood, and who is aware of what’s occurring. However on the aesthetic stage, the perfect of a murals is one during which nothing might be modified, or it will not be pretty much as good. Is {that a} means to consider your paintings, that you really want it to be precisely proper, that each piece needs to be there, that no different piece would do?
CS: I feel that’s how I really feel. However I additionally know that, once more, it’s within the eye of the beholder. I do know that it’s going to be fully changeable and imply fully various things to the individuals who see it.
AM: You may’t management that.
CS: No, I can’t management it as a result of part of it’s like, properly, once I lock all the pieces, once I lock the movie, and the movie is taken into account completed, it has successfully develop into an object. It has successfully develop into a factor that you can watch in your cellphone. So it has totally develop into one thing that’s, in a means, a useless factor as a result of I’m not in a position to contact it, as a result of it’s now develop into a movie that exists on the planet. Hopefully, you’ve encountered it in a good looking movie show, nevertheless it’s additionally doable so that you can have seen it on an airplane. No matter this object is, it’s going to stay the item 100 years from now, and I hope {that a} hundred years from now persons are in a position to watch the film and nonetheless really feel one thing for it. Who is aware of, although? In that means, it’s to me not a dwelling, respiration factor. However I additionally know that within the viewers, it comes again to life. In entrance of the viewers, it does develop into a dwelling, respiration factor once more, and it turns into part of their life on this means I, because the filmmaker, can solely dream of. Once more, we’re speaking about contradictions. So to me, it’s a changeable and contradictory factor. It’s all the time in flux, nevertheless it’s additionally one thing that I not contact.
AM: It’s like what we had been saying about characters who, on the one hand, are only one factor. Nora is that this particular person and nobody else, however, however, she may have been all these different individuals. She may have stayed in Seoul or may have gone to New York in her completely different lives. She may have been the fowl on the department.
CS: Sure. Precisely.
AM: A beautiful line.
CS: As a result of it’s an outline of life, each different life imaginable for her. “What if she stayed in Seoul?” Which, in fact, Hae Sung talks about. Each alternative inside this film is considered one of an infinite variety of selections that might have been made as properly. However I consider that’s the a part of artmaking the place you’re making an attempt to seize the factor that’s fully alive and switch it into an object that may be approached by everybody. And, consequently, it needs to be one thing that’s open to alter and to alternate universes and all of the issues that Nora may have performed as an alternative. All of these issues must be within the movie, however, once more, it’s a contradiction as a result of it has to even be the one factor that Nora may do within the movie. Unpredictable but inevitable. That’s all you’re making an attempt to realize. For instance, you’ll be able to all the time make Arthur a horrible particular person, after which the viewers must cope with the truth that her life in New York or her marriage doesn’t appear excellent. However, the truth is, the factor that I’m making an attempt to do is to ensure that Nora doesn’t get within the Uber. You need it to really feel fully inevitable as a result of that’s what life appears like. Life is totally inevitable and completely spontaneous.
AM: I need to ask you about Virginia Woolf. Have you ever learn “Mrs. Dalloway”?
CS: I’ve learn all of the classics. I’m not fearful of your English division.
AM: In “Mrs. Dalloway,” a lover comes again and, in a means, makes her take into consideration all the pieces. About her marriage, about her deeply and powerfully unstated relationship to her husband, who can’t say that he loves her however does. You had been a playwright earlier than you had been a filmmaker. One of many issues I cherished about your film, as I’ve been saying, is its formal refinement, the extraordinary care with which you handle area and time and intensify the viewers’ experiences of area and time by means of all types of formal, technical selections. However then there’s the concord, a sequence of chord progressions on prime of which your language then performs this melody. I don’t need to finish with out acknowledging the language. How did you concentrate on language in relation to fascinated by unled lives? The extra specific query is to ask concerning the translation of the final line within the film, when Hae Sung says, in translation, “See you then.” I take it to imply, or probably imply, “I’ll see you in that future life.” Is that there within the unique Korean, too?
CS: Sure. I might say it’s extra particular than even, “See you then.” The extra direct translation is, “Geuttae boja / 그때 보자.” It means, “See you at the moment.” In that means, it’s fully and unambiguously about that.
AM: That’s pretty. I like that.
CS: Sure, and what an incredible promise. And on the finish of the movie, after the gorgeous credit score track by Sharon Van Etten ends, there’s a little bit piece of music that comes again from the movie, which is the piece of music from the primary second that Nora and Hae Sung reconnect over Skype. We needed to play that track there as a means of—
AM: Anticipating.
CS: Revealing what is going on within the subsequent life. Although you’re simply watching the black display screen and the credit, you’re listening to Nora and Hae Sung assembly within the subsequent life. They in all probability don’t know that they’re assembly one another once more on this life after they promised to see one another then in that New York Metropolis nook of their final life.
AM: Possibly for the 8,000th time. Who is aware of?
CS: Sure, possibly the 8,000th time. The film is about this sense we get after we meet sure individuals. “I’ve recognized you ceaselessly. I don’t know how you can describe it, however you and I, we’re related for some purpose.” That’s why we selected that piece of music for a post-credit track.
AM: That’s pretty. When her mother and father determine to maneuver, one of many first issues she does is select her new title. She names herself, and he or she practices this new language along with her sister on the aircraft, learns this language and enters totally into it. Was having these two languages a useful resource for you? Should you’re considering, “I need to write a film about two lovers, a couple of previous lover coming again and a gift lover,” that might be performed with out the bilingual aspect. You didn’t have to, however you probably did. So that’s to say, how did you concentrate on utilizing the language distinction or the 2 languages to accentuate the expertise of unled lives or previous lives?
CS: I feel it suggests, once more, that this film is a few type of a love triangle, however the fact is that this film is under no circumstances a couple of love triangle. If it’s a love triangle, it’s between Nora and considered one of her lives and one other one. To me, it’s actually much less about language as a component. It’s so elementary as a result of it’s about part of her that may be very a lot a literal place, a tradition, a language, and a time in her life, and it’s a really vivid area. It’s a lot extra about someone from that area coming to remind her of its existence, and the way in which that area nonetheless longs for her. It’s really not a love triangle with the language barrier, it’s totally about language itself…
AM: I perceive that it’s not a love triangle, however I don’t perceive—
CS: That’s what I’m making an attempt to speak about, which is that this area inside her that Hae Sung occupies is the factor that’s coming to go to. I don’t even consider it as a language barrier versus this language that’s coming to go to, and that’s what actually poses this existential query of who Nora is, what sort of a life she lives, and what the alternatives are that led to her life. Hae Sung coming to go to Nora in New York is a problem to her total existence. It’s about how this language that she forgot, this language that she doesn’t use, this language that solely actually exists in a sure a part of her life, in her reminiscence of the previous, has come to invade her current and ask questions on her future. To me, it’s a lot extra concerning the love triangle of the previous, the current, and the long run sitting in that bar—
AM: Of this one particular person.
CS: Of this one particular person. And these two males who every maintain a key to components of her life, and they don’t have one another’s keys—they solely have one key that unlocks one a part of her. The reality is that she will get to be fully unlocked as a result of Hae Sung came around together with his language and his lack of ability to talk one other one. He’s exhibiting as much as say, “There may be this little basement in your soul I don’t assume you’ve considered or accessed, however I’m nonetheless in that basement, I’m nonetheless in love with that little woman, I nonetheless miss you.” Of their encounter, he’s unlocking part of her that I don’t assume she totally acknowledged as an essential a part of her till he got here alongside. So on the finish of it, she has develop into a fuller lady and a fuller particular person because of Hae Sung’s go to. It’s about her, and it’s about these two males who love her in a different way, completely different components of her, however are attempting to reconcile how the girl and the woman that these two males know are one way or the other the identical particular person. To like one is to like the opposite, and in that means, the boys are then being requested to take care of one another as properly as a result of the boys are part of this one lady who they each love very in a different way.
AM: We have now In-Yun.
CS: Precisely.
AM: On the finish, she acknowledges her love for Arthur and having this a part of her unlocked. At that second, there’s nothing to do however to cry. To cry—to cry and to hug him.
CS: To grieve. To grieve one thing.
AM: To grieve whereas being hugged.
CS: A beautiful factor.
Excerpt from the brand new e book “Previous Lives” screenplay e book, launched by A24.