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John Crowley isn’t exactly a name that inspires confidence in cinephiles. While his immigrant romanceBrooklynwas universally acclaimed, his ambitious follow-up — an adaptation ofThe Goldfinch— was mostly reviled. Crowley’s latest, the A24 romanceWe Live in Time, feels like a return to form: a poignant romance anchored by strong performances.
We Live in TimeReview
We Live in Timefollows the relationship of a young couple over several years, from their chance meeting to the obstacles they face when one of them receives a terminal diagnosis. Considering the talent involved, one might expect this to be something ambitious, but it’s pretty straightforward outside of its needlessly convoluted structure. Yet, by aiming low, the film is able to ensure it doesn’t miss.
Indeed,We Live in Timeis, in many ways, a standard sappy romantic drama. Its message is a common one for the genre: cherish the moments you have with those you love while you’re able to. Viewers won’t walk away from Crowley’s latest film feeling enlightened or stirred, but that assumes this was even the intention. It feels obvious that the filmmakers were happy with this being a simple tear-jerker.
The main thing that holdsWe Live in Timeback is its narrative structure. Although the purpose of this conceit is clear — we’re watching a series of moments in their relationship unfold as we experience the world one moment at a time — it is detrimental to the narrative progression. Although many scenes are incredibly powerful and moving, it lacks narrative cohesion. Because of this, one will often get invested in one of the film’s narrative threads, only to be forced out by a jump to a different timeline. The structure also reduces the feeling of stakes in the film, as knowing where these characters will end up will cause viewers to approach the film with an almost fatalistic perspective.
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That being said, the two characters are so compelling that it’s easy to get invested in their lives, even though they are presented in a way that is seemingly intent on undermining them. Their arcs are rather conventional. They have a quirky meet-cute (in this case, a car accident), they fall in love, and face trials and tribulations. Writer Nick Payne is working within the confines of a very worn formula. While he does little to defy convention (outside of the convoluted structure), the film is mostly effective on an emotional level.
We Live in Timeis also elevated by two astounding performances in its lead roles. Andrew Garfield andFlorence Pughare two of the most talented actors working today, with two and one Oscar nominations, respectively. Frankly, this is not the level of script one would expect to attract an Oscar-nominated duo to its leads, but their participation makes all the difference in the world. Their chemistry together is incredible, and both sell every moment with earnestness and authenticity.
The film’s visuals are also quite impressive. Since his Oscar-nominatedBrooklyn, Crowley has attracted some of Hollywood’s best below-the-line creatives to work with him. Although cinematographer Stuart Bentley ([MOVIE]) and composer Bryce Dressner (Sing Sing)don’t match Crowley’sGoldfinchcollaborators Roger Deakins and [COMPOSER], they are both very talented and create a film that is aesthetically wonderful to look at. And no, the carousel horse that got meme-ified is not a distracting presence in the film.
IsWe Live in Timeworth watching?
If you look atWe Live in Timeas a run-of-the-mill romantic drama, it’s mostly effective. Although its nonlinear structure is wholly unnecessary, and its story doesn’t otherwise subvert tropes or expectations, its performances are strong enough that the film remains incredibly compelling. As far as maudlin tear-jerkers go, you could do much worse than this.
We Live in Timeis playing at the 2024 Toronto International Film Festival, which runs September 5-14.
We Live in Time TIFF Review — Andrew Garfield and Florence Pugh are Brilliant in Sweet Romance
Sean Boelman
Managing Editor for Film and TV
Articles Published :441
Sean is the Managing Editor for Film and Television, working to determine editorial strategy for the critics team. He has been on the FandomWire team since 2022.In addition to writing reviews himself, Sean helps match writers on the FandomWire team with assignments that best fit their interests and expertise.
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a24Andrew GarfieldFlorence PughToronto International Film Festival
