By: ABNƎR Movie Reviews
We Live in Time wants to remind us how precious time is. Time is, after all, the one thing no one in this world can buy. It is priceless. This truth hits hardest when a loved one receives a terminal diagnosis, transforming every fleeting moment into a treasure trove of memories. Suddenly, every second with them is a ticking clock in our subconscious. We Live in Time aims to tell this story poetically and with the help of two powerhouse Hollywood superstars – Andrew Garfield as Tobias and Florence Pugh as the lead protagonist, Almut.
The film begins with a heart-wrenching revelation: Almut is diagnosed with stage 3 ovarian cancer, requiring immediate chemotherapy before possible surgery, with no guaranteed survival. Having already undergone treatment for the same type of cancer a few years prior and reluctant to face treatment again, she suggests enjoying “6 to 8 wonderful months” rather than enduring her possibly final days in pain and discomfort. What follows is a nonlinear narrative exploring the complexities of romantic love under profoundly saddening circumstances.
Performance-wise, We Live in Time presents a unique, intense role for both lead actors. Florence Pugh’s undeniable talent is exemplified in the film’s most gripping scene, where Almut unexpectedly gives birth to her baby girl in a gas station bathroom after a mishap with the bathroom door. The harrowing moment showcases her ability to convey raw emotion and is a career highlight for the actress.
However, despite the powerhouse names attached to the characters, their backstories feel incredibly underdeveloped. Their narrative was shallow and remarkably bare outside of their occupations. We Live in Time fails at effectively pointing out their similarities; in fact, they are quite toxic to each other in some scenes. Besides their passionate and intimate moments – which prompted giggles from the entire group of young girls in the audience I watched the film with – and Almut’s guilt for inadvertently hitting Tobias with her car during their first encounter, there is little substance to their connection. Tobias, in particular, was underdeveloped and one-dimensional.
Perhaps the most perplexing aspect of We Live in Time is its structural approach. The film dances between past and present in a nontraditional timeline, but the transitions are poorly defined. At times, the actors appear visually unchanged, making it difficult for the audience to discern whether a scene is in the present or the past. A more deliberate effort to illustrate their evolving appearances would have added clarity. Throughout, both characters appear ageless, with the only clear indication of a specific period being Almut’s pregnancy, which is evident through her visible belly, and the time immediately after the cancer diagnosis, marked by Almut’s short haircut.
On a positive note, the cinematography was gorgeous and visually captivating. Slow-motion sequences add a dreamlike quality to certain scenes, and the intimate close-up shots foster a sense of connection that resonates with the emotional intent. The lighting lends an ethereal glow to pivotal moments.
While the story had genuine moments of warmth and sincerity and successfully implores us to cherish life’s fleeting moments, its narrative structure and insufficient character depth detracted from its potential. Ultimately, We Live in Time leaves the audience feeling somewhat adrift, lost in time.