In a cinematic landscape dominated by grand, sweeping romances, the new film “We Live in Time” dares to take a different approach, crafting a love story as unconventional as it is poignant.
Directed by the acclaimed John Crowley, the film follows the relationship between Almut, a modern and career-driven chef played by Florence Pugh, and Tobias, a man who sells Weetabix cereal, portrayed by Andrew Garfield. But this is no straightforward tale of boy meets girl. Instead, the narrative unfolds in a series of out-of-order scenes, challenging the audience to piece together the nuances of this complex relationship.
“It’s about the simplest of things, which is that we are here, I believe, for one reason only: to love and be loved,” Pugh explains the film’s underlying themes. And while the premise may seem simple, “We Live in Time” delves into the intricate and often messy realities of love and commitment.
Almut, for instance, makes it clear early on that children are not part of her plans. But when Tobias broaches the subject, her reaction is anything but receptive. “I’m sorry, but what the actual fuck are you even talking about right now?” she fires back, her dismissiveness underscoring the tension between their differing desires.
Yet, as the film’s nonlinear structure reveals, Almut’s perspective on motherhood undergoes a profound shift when she is diagnosed with cancer. Faced with the prospect of a total hysterectomy, she chooses the riskier option of a partial procedure, reasoning that “just because in a general sense I never saw myself having kids doesn’t mean that there isn’t a world where I couldn’t see myself in time deciding to have them with you.”
This decision, framed as a choice, is ultimately one that guides Almut back to the center of traditional heteronormative expectations – a move that screenwriter Nick Payne seems intent on exploring, even if it comes at a cost.
“We Live in Time simply couldn’t justify its existence as a tearjerker if Almut didn’t die in the end, and so it’s no surprise that she does have a kid after taking the risk, and then she ends up being diagnosed with Stage 3 ovarian cancer after she’s given birth,” observes one critic. “Her decision gave one life and will take another: hers.”
Despite these conventional narrative beats, Pugh and Garfield’s performances lend emotional authenticity that elevates the material. Their on-screen chemistry is palpable, with both actors conveying a genuine affection for one another, even in the film’s quieter, more reflective moments.
Garfield, in particular, shines in his portrayal of the softer, more emotional Tobias, his eyes often welling with unshed tears as he navigates the challenges of their relationship. And Pugh, as always, commands the screen with a fierce intensity, her character’s modern sensibilities clashing with the traditionalism that threatens to envelop her.
Ultimately, “We Live in Time” is a film that defies easy categorization. It’s a romance, to be sure, but one that is as much about the complexities of life and the inevitability of death as it is about the pursuit of love.
“There’s a bit of theatrical poking at gender roles,” one critic notes, “but these amount to empty gestures. We Live in Time has the standard-setting feel of a decades-old movie – the portrayal of ‘pure love’ is easy to mistake for a prescription of how things should be.”
And yet, even as the film adheres to certain traditional tropes, it also finds moments of unexpected subversion. The climactic sequence, in which Almut chooses her culinary dreams over the wedding she and Tobias had planned, is a prime example, with the character asserting her agency and refusing to be defined solely by her relationship or impending death.
“She doesn’t want just to be ‘someone’s dead fucking mum,'” the critic explains. “She wants her daughter to have something to remember her by and not have her declining health define their relationship.” It’s a powerful and poignant statement that speaks to the film’s broader exploration of identity, legacy, and how we choose to be remembered.
So, while “We Live in Time” may not reinvent the romantic drama genre, it does offer a refreshingly nuanced and thought-provoking take on the timeless tale of love and loss. And with Pugh and Garfield at the helm, it’s a film that will leave a lasting impression on audiences.