This is one of the year’s best movies. Do not miss it.
at least partly on her own journey as an immigrant and an artist; her approach is far too authentically detailed to be entirely fictional. And yet by making something specific and personal, she has found a way to approach a universal topic.
I don’t have a lot in common with Song beyond the fact that we’re both married and live in New York City. I didn’t come to the United States by way of two other countries; I don’t have some grand lost love in my past waiting to find me on Facebook. But you don’t need to share Celine Song or Nora‘s specific experiences to think about the incomprehensible forces that shape each of our lives.
I could tell you about a robbery at my old apartment on the Lower East Side that led to my entire professional career, or the near-impossible twists that brought my wife and I together despite the fact that we grew up hundreds of miles apart and attended different colleges. In , Nora describes “in-yun,” a Korean concept about how two people can be destined to meet because of interactions with one another in past lives. I’d never heard of in-yun before, but it makes total sense to me.
It would be an act of critical malpractice to say much more about what happens to this trio, but the ending of this film is both very surprising and entirely logical, and it hit me like the hardest of punches in the gut. However you write its title, is a great romance, a great coming-of-age story, a great tale about the ways technology can bring people together , a great New York City film, a great story about immigrants — and a great movie, period.
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