Freyne’s Eternity imagines the afterlife as a one-week junction where Joan must choose between Larry—the ordinary life built over sixty-five years (the “beach”)—and Luke—the preserved intensity of first love (the “mountain”). Guided by mordantly comic coordinators and a cinema-museum that screens her past, the film hovers between drama and comedy, sometimes diffusing its moral clarity amid a catalog of whimsical “worlds.” Yet, by reframing Casablanca’s duty-versus-desire calculus as self-authorship rather than geopolitics, it locates a quiet grace: eternity becomes not reward but the age, mood, and truth one is willing to inhabit, asking whether we choose the life we imagined or the life we faithfully lived.