Yana Giannoutsos ‘28
Staff Writer
Life may be short, but it is long enough to pursue new dreams, find love, change directions, and, most importantly, reinvent your legacy. Actors Andrew Garfield and Florence Pugh star in the romantic comedy/drama We Live in Time, which explores the complexity of love and the bittersweet beauty of brevity. Directed by John Crowley, the film follows an enthusiastic chef who meets a recent divorcee after accidentally hitting him with her car. The story that ensues from this unlikely meet-cute is reminiscent of other modern romances with illness as the primary conflict. Female protagonist Almut (Pugh)’s diagnosis with stage three ovarian cancer presents the young family with the timeless choice between passively hoping for a cure and deliberately chasing ambitions.
Though the film has no shortage of profound, tear-inducing moments, it does not shy away from comedy. The quirky dynamic between love interests Almut and Tobias brings levity to an otherwise heart-wrenching sequence of events. Pugh and Garfield’s electric chemistry is evident in bits of fiery dialogue that simultaneously explore both the idyllic and challenging aspects of a marriage. Viewers can appreciate this accurate portrayal of a romantic relationship that is not afraid of exploring complex topics like non-traditional gender roles and conflicting core values. The characters’ juxtaposed personalities are beautifully revealed in moments when Almut, a progressive career woman, contends with her multifaceted identity as a professional chef, romantic partner, and mother. Seeing a female character embody these seemingly mutually exclusive roles harmoniously offers a fresh perspective on contemporary womanhood in general.
Viewers know how the story will end from the very beginning. This said, a convoluted and disjointing first half muddles the predictable trajectory. Screenwriter Nick Payne employs a non-linear story structure, following the couple across three distinct timelines. This directional choice is purposeful and falls in line with the film’s themes, yet the transitions feel quite abrupt and arbitrary at the start, especially as key plot points in the story seem unnaturally omitted. The initial scene where the two lovers meet feels especially rushed, providing the viewer with no context and little to go off of. As a result, it seems contrived and extraneous to the otherwise realistic story arc.
Like The Fault in our Stars and A Walk to Remember before it, the film conveys yet another story of a romance cut short by cancer. Despite the seemingly overdone trope, Crowley still manages to make a memorable film, offering new twists to the tragic story template. This film’s most potent redeeming quality is the evocative character development, which is only achieved through quality acting. Pugh captivates viewers and has received acclaim for her portrayal of Almut, whose energetic intensity starkly contrasts Garfield’s emotional yet subdued depiction of Tobias. Though it is a film about cancer, the physical decline and illness do not dominate the storyline. Instead, it allows viewers to see resilience in action amidst a love that, in its own way, defies death.
Metaphors abound in the film. Each symbol conveys a paradoxical sense of movement and stagnance through time, from repetitive allusions to egg-cracking to figure skating sequences. The ultimate scene offers peaceful ambiguity: a poignant resolution that wraps up each of the story’s subplots within the context of the film’s essential question: How is it we wish to be remembered, and how will we adjust our priorities to achieve this sense of purpose?
Anyone desiring to watch a film that pulls at the heartstrings yet does not deviate too far from classic dramas will no doubt be captivated by this film. Exquisite acting, charming and aesthetic scenery, and unique directional artistic decisions imbue We Live in Time with a sense of nostalgia, heartbreak, and hope. The film is most certainly not a waste of time.
Featured image courtesy of Slate.com
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