![]() Some things, though, never go out of style. In lieu of billets-doux sealed with wax, we get buffering, frozen laptop screens, and texts that arrive at three o’clock in the morning. True to the mechanisms of modern love, they connect on Facebook. Think of it as a welcome rebuke to our nagging demands for closure.) Twelve years later, as an adult (Teo Yoo), Hae Sung reaches out to Nora (Greta Lee), now an aspiring playwright in New York. (The whole movie is alive to the idea of our not getting over things. Hae Sung is upset by her departure, but, hey, he’s a kid he’ll get over it. As if that were not transformative enough, she acquires an English name, Nora Moon, which sounds like the heroine of a fairy tale. The exciting news for Na Young is that she and her family are relocating, to Canada. The two of them go on a playdate, climbing on chunky sculptures in a park, their faces vanishing and coming back into view-a hint of the transience that will lend the film an air of cheerfully worried fragility. He calls her a psycho, as if that were a quality to be admired. She walks home from school with a boy, Hae Sung (Seung-min Yim), who, for once, has got better grades than she has. The first leap takes us to Seoul, where Na Young (Seung-ah Moon), aged twelve, lives with her parents and her sister. For a second, I misread “years” as “hours”-a more manageable flashback-but no, Song really is grabbing us by the hand and asking us to leap before we look. After a brief opening scene, in a New York bar, the words “24 years earlier” appear onscreen. Back and forth we go, through time, in Celine Song’s début film, “Past Lives,” and there’s not a DeLorean in sight.
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