Mu-An Chiou


A film critic friend said that Past Lives (along with recent Korean films)’s success means they ought to be put under a microscope for an examination of the way they export “pan-east-asian” culture artifacts like 因緣 which exists in all east Asian countries in different forms. Just want to say I found this point interesting in that, are we a collective, and/or do we want to be seen as a collective group that share similar cultural heritages? or do we want to be seen separately even though the nuance might be lost on non-Asian audiences? in that do “Korean” films have responsibilities to bear the burden of differentiating the wider east Asian culture exports? although one may also argue that they have made a decision given how the country had historically self-proclaimed to be origins of various things.

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