
Three interconnected stories explore themes of love and longing across different periods. In 1966, a solitary soldier experiences a brief but intense connection at a pool hall. The year 1911 finds a Taiwanese courtesan navigating a difficult choice between romance and survival amidst Japanese occupation. Finally, in 2005, a singer grapples with a critical decision concerning her artistic inspiration and career ambitions, as these separate narratives subtly intertwine.
Does Three Times have end credit scenes?
No!
Three Times does not have end credit scenes. You can leave when the credits roll.
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82
Metascore
7.7
User Score
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User Score
70
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User Score
Challenge your knowledge of Three Times with this fun and interactive movie quiz. Test yourself on key plot points, iconic characters, hidden details, and memorable moments to see how well you really know the film.
In which year is the first segment of 'Three Times' set?
1966
1911
2005
1989
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Read the complete plot summary of Three Times, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In the sweltering summer of 1966, amidst the chaos of the Cultural Revolution tearing through mainland China, a different kind of turmoil was unfolding in Kaohsiung, Taiwan. It was here that Chen, a young soldier on leave, found himself captivated by the enigmatic May, who served customers at a lively pool hall. Their initial encounter was marked by a game of chance and skill, which eventually transformed into a delicate dance of attraction, characterized by stolen glances and soft whispers amid the clattering of balls and the joyous laughter of patrons. When May prepared to lock up for the night, Chen’s promise to write her a letter before he returned to his station ignited a flicker of anticipation in her heart.
Months passed, and May finally received the letter she had been yearning for, brimming with sentimental words reflecting Chen’s unwavering affection. However, as the mundane patterns of life in Kaohsiung enveloped her, she grew restless, longing for change. She decided to return to Chiayi, seeking solace in the memories of a time long past. Little did she know that Chen had been stealthily following her journey, driven by a desire to reignite their fragile connection, trailing her from one pool hall to another.
Their paths serendipitously crossed again in Huwei, where the familiar sights and sounds of the game provided them a bittersweet reunion. As they lingered at the train station, the atmosphere thickened with unspoken words—the tension of anticipation mingled with regret. Then, as if moved by the whims of fate, Chen took May’s hand, and the two nestled beneath an umbrella, finding warmth and shelter against the uncertainties that loomed ahead.
Transitioning to a contrasting tale set in 1911, during the era of Japanese occupation of Dadaocheng, a different narrative unfolds against the backdrop of silent films. This segment introduces us to a brothel, where a singing courtesan yearns not only for personal freedom but also a release from the constraints imposed by her life. Her heart beats in unison with that of Mr. Chang, a traveling writer and political dissident, whose tales of adventure incite her own dreams of escape.
Yet, despite his genuine affection for her, Mr. Chang firmly denies her request to become his concubine. His objections stem from two beliefs: a deep-seated disdain for the concubinage system and his commitment to battling the Japanese through diplomatic means, which forbids any personal entanglements. As the courtesan’s fantasies of liberation linger tantalizingly close yet out of reach, her songs become an echo of hope in a world filled with despair.
As fate intervenes, Mr. Chang’s noble act of purchasing Ah Mei’s freedom is realized, prompting him to revisit the brothel where her sister resides. Aware of her own unstable reality, Ah Mei gazes at him with an unarticulated desire for salvation, yet Mr. Chang remains untouched by her silent plea. With the arrival of a new young courtesan, Ah Mei begins to absorb her newfound liberty; however, her inquiries into Mr. Chang’s intentions unveil an emotional chasm that deepens her feelings of hopelessness.
Three months into this tumultuous journey, solace comes in the form of melodic lessons taught by the new girl. Yet, when a poignant letter from Mr. Chang arrives, filled with a haunting poem contemplating the sorrow awaiting Taiwan post-liberation, Ah Mei’s tears begin to dry, replaced by an emerging sense of resilience.
The final segment whisks us to the vibrant scene of Taipei in 2005, where Jing, a club singer, smoothly navigates the intricate layers of her romantic relationship with photographer Zhen. Their affair blossoms against the pulsating backdrop of city life. During one electrifying performance, Zhen captures Jing’s essence, sparking jealousy as his girlfriend departs in a huff. As their connection intensifies, Zhen uncovers Jing’s epilepsy management badge, which leads him down a path of emotional turmoil when he spots his girlfriend and faces rejection once more.
As night falls, a palpable tension transforms into connection as Jing and her partner share an intimate embrace. Yet, Jing’s thoughts linger elsewhere—distracted by a text from Zhen, inviting her to meet for a long-awaited exchange of photos and her badge. Deep in her creative process the next day, Jing channels her feelings into lyrics, forming a raw, reflective song that captures her inner strife while Zhen waits, eager for their forbidden bond to deepen.
Amidst this emotional tempest, Jing’s girlfriend finds herself alone, entangled in feelings of abandonment and desperation. In a moment of vulnerability, she sends a chilling message to Jing, hinting at the hurt that awaits if her love remains unreciprocated. As Jing arrives home, the weight of those words hits her hard, leading to a breakdown on their bed. In contrast, the sound of her song fades as Jing and Zhen speed down the freeway, love glowing as brightly as the roads themselves.
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