Film review: We live in time

Art

We live in time
Directed by: John Crowley
Film4, SunnyMarch and Shoebox Films
In the cinema 11.18

Laughter, tears, the joy of love, the pain of loss and Andrew Garfield. During my time orbiting the Sun, I have personally encountered each and every one of them, and they are part of the rich tapestry of human experience. John Crowley’s new film, We live in timeweaves them all together with an elegance and urgency that is truly a joy to experience.

Tobias Durand (Garfield, Tick, tick… boom!, Spider-Man: No Way Home), a representative of a large grain company in Britain, has just signed his divorce papers when he decides to walk across the street from his hotel room to visit a supermarket and is promptly hit by a car driven by Almut Brühl becomes (Florence Pugh, Midsommar, little women). Almut invites Tobias to dinner and the spark ignites almost immediately. As their relationship deepens and they move in together, they face ups and downs, including a brief separation due to different feelings about marriage and children. However, love wins and the couple has a daughter, Ella (Grace Delaney), who is the center of her world when Almut is diagnosed with ovarian cancer. Although there is a possibility of a positive outcome from chemotherapy, Almut – above average free spirit that she is – wonders whether she wants to risk wasting the remaining time on strenuous and miserable procedures or whether she should simply live out her final months to the fullest wants to enjoy trains with the people she loves. The difficult decision will test the strength of their bond, but together Tobias and Almut remain true to the idea that they will enjoy every moment together, no matter what happens, no matter how he spends it.

While the premise behind it We live in time While largely similar to that of a normal romantic whiner, the approach is something entirely different. The script by Nick Payne (The last letter of your love) is clever and full of wit, warmth, wonder and richly drawn characters. The story is told out of sequence, and while the non-linear approach is on the verge of losing its impact, here it allows for a film made up of moments, capturing the reality of a relationship and all its experiences, memories and feelings, without artificializing them having to convert it into a formulaic and incorrect action structure. There is an ethereal quality to the way the different elements are connected – they seem to float gracefully from one thought to the next, rather than jumping from scene to scene – that is beautiful and deeply refreshing, acknowledging that life does not follow a rigid structure and neither is episodic or divided into three acts. The fact that Crowley (Brooklyn, The Goldfinch)’s ability to jump so completely through time in such a free style, without ever losing focus and narrative clarity, is remarkable and speaks of an experienced director with a vision.

It would be going too far to say that this film is all about performances, but the impact of the extraordinary work Pugh and Garfield do here is hard to overstate. The depth of connection and commitment to conveying chemistry and emotion couldn’t be stronger, and the film soars as the audience falls so completely in love with both of them. The ensemble surrounding them is very strong, with Douglas Hodge (Gemini man, joker) as Reginald, Tobias’ father, and Lee Braitwaite like Jade, a chef who works with Almut, are the most obvious examples. But then there is Nikhil Parmar (Gran Turismo) And Kerry Godliman (Trigger point) as Sanjaya and Janes, respectively, two gas station workers who figure prominently in the film’s most memorable sequence, in arguably the most exciting action sequence of 2024, when Almut fails to make it to the hospital before giving birth to her child. Each supporting character becomes a fully realized and believable person, but it’s impossible to spend too long thinking about any of them without returning to Almut and Tobias, because the endearing characterizations from two of the most fearless actors of our time are just that good.

We live in time Maybe it’s actually an exceptionally well-crafted romantic melodrama that hits all the right notes, but when you think about it, it’s abysmal It ends with us represents the most successful mainstream entry in the genre in a long time, and to say that Pugh, Garfield and Crowley transcend these special features doesn’t seem like sufficient praise. This glorious, wonderful and life-affirming film is a testament to what artists who are passionate about bringing a story to life can achieve and is one of my favorites of the year. –Patrick Gibbs

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