In an audacious foray into the realms of love and loss, John Crowley’s latest cinematic endeavor, We Live in Time, springs forth with a compelling fusion of talent and unpredictability. Featuring powerhouse performances by Andrew Garfield and Florence Pugh, this romantic drama unfolds within a labyrinthine narrative structure that veers tantalizingly away from linear storytelling.
Ah, the sweet, poignant agony of a well-crafted romantic tragedy—I haven’t encountered one of these in contemporary cinema for far too long. Perhaps it’s because this genre, when executed with skill and sincerity, sweeps me off my feet, allowing me to overlook the somewhat pedestrian essence of its narrative arc. Here lies a tale of two souls, beset by unfortunate circumstances, meandering through the familiar tumult of love and life, expertly brought to vibrant life by its stellar cast.
Set against the bustling backdrop of modern London, traversing the early 2010s to 2023, we meet Almut Brühl (Pugh)—a culinary virtuoso reigning over a chic restaurant while basking in the glory of cooking competitions. Then there’s Tobias Darmund (Garfield), ensconced in the marketing machinations of a cereal company. Their initial clash—a comical yet disastrous meeting when Almut accidentally sends Tobias to the ER—sets the stage for a decade of intertwining lives. Fast forward, and the couple lives blissfully with their spirited four-year-old daughter, Ella (Grace Delaney), until fate unravels their joy with Almut’s harrowing cancer diagnosis.
The film boasts an impressive supporting cast, including Douglas Hodge as Tobias’ father and Lee Braithwaite as Almut’s culinary comrade-turned-partner. Adapted from a script by playwright Nick Payne, We Live in Time sees Crowley revisiting the romantic landscapes he so deftly navigated in his previous critical darling, Brooklyn (2015). Here, time bends and twists in a non-linear fashion that captivates rather than confuses, deftly sidestepping the clutches of convoluted exposition or heavy-handed title cards.
At the heart of this cinematic offering lies the profound performances of Garfield and Pugh—two of the most formidable talents of their generation, effortlessly oscillating between heart-wrenching drama and unexpected comedic interludes. Their on-screen chemistry crackles with intensity, showcasing a romantic fervor that melds graphic sensuality with a raw emotional undertow, reminiscent of the best R-rated dramas.
Yet, one might argue that We Live in Time treads familiar ground, offering little that feels groundbreaking within its genre. In a more conventional narrative structure, it could risk being deemed derivative. But for aficionados of romantic films and ardent followers of its leading stars, this emotive journey could indeed strike a resonant chord, inviting audiences to revel in the bittersweet complexities of love’s enduring dance with time.
