We Live In Time 2024 - A Romantic Drama Review

 


The emotional romantic drama experienced a surge in popularity following the release of “The Notebook,” but its momentum waned with the plethora of adaptations of other works by Nicholas Sparks and those who sought to emulate him. Upon viewing John Crowley’s poignant “We Live in Time,” which debuted this evening at the Toronto International Film Festival, I was reminded of its significant connection to a long history of films centered on tragic love stories. However, it also presented a fresh perspective that feels particularly unique in the post-Covid landscape, especially given the caliber of its cast. In a time marked by a prevailing cynicism in filmmaking, the two films showcased tonight at one of Toronto’s premier venues stood out for their earnestness and sentimentality. Audiences are aware of the emotional manipulation at play, yet they willingly embrace the experience. “We Live in Time” engages viewers directly, skillfully pulling at their heartstrings, and would likely falter with less capable actors attempting to lend authenticity to its somewhat superficial script. Fortunately, it features the talents of Florence Pugh and Andrew Garfield.

The film features a deliberately disordered narrative structure. It begins with a grave cancer diagnosis for Almut, portrayed by Pugh, who confides in her partner Tobias, played by Garfield, about a harrowing choice: six months of fulfilling life versus a year of arduous chemotherapy that may prove ineffective. From this point, Nick Payne’s screenplay navigates through the relationship of Tobias and Almut, unfolding across four distinct timelines. We witness the aftermath of Almut’s cancer recurrence, during which the professional chef opts to enter a cooking competition as a final achievement, a choice she conceals from Tobias, aware that it would add to her mental and physical burdens. “We Live in Time” also revisits the early stages of Tobias and Almut’s romance, revealing that they first crossed paths when she accidentally struck him with her vehicle. This narrative thread intertwines with scenes that disclose Almut’s previous battle with cancer, compelling the relatively young couple to confront the possibility of remaining childless. However, it is evident that they did have children, as illustrated by several scenes featuring a notably pregnant Almut, culminating in one of the most striking birth sequences seen in contemporary cinema. the film is available on HuraWatch Romance. Read more:

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