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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