Movies have had an uneasy relationship with the internet since at least the days of ubiquitous American Online diskettes. Whenever a movie (especially a clunkily humanist one like noted non-classic Men, Women and Children) expresses any alarm about the pitfalls of digital technology, anyone with online levels of medium or above tends to point and laughs—and not for nothing do so many members of a particular subgenre have the adjective “paranoia” inserted between “internet” and “thriller.” Really, though, who can blame the movies for their paranoia? Anyone who spends a reasonable (read: unreasonable) amount of time online will readily admit what a cesspool it is, then gaslight any movies that agree with them—and that was before the internet enabled a haphazard half-dismantling of the already-fragile big-studio movie pipeline. This makes it all the more impressive that Celine Song’s new movie Past Lives sees the internet, particularly social media, with such clarity, and depicts it with such restraint.
That’s typical of the movie of the movie in general, which is not principally about digital technology, but rather a pair of young friends with middle-school crushes on each other who are separated, then reunited decades later. If the movie is a romance, it’s one of bittersweet small gestures and longing looks—the small spaces in between major life decisions.