As a film critic who has spent decades immersed in the world of cinema, I must confess that “We Live in Time” left me feeling rather like Tobias himself – bewildered and adrift. The performances are undeniably powerful, with Andrew Garfield and Florence Pugh delivering nuanced portrayals of a couple navigating the treacherous waters of love and loss. Yet, I couldn’t help but feel that the film itself was trying just a bit too hard to tug at my heartstrings.
Andrew Garfield’s acting skill lies in conveying profound emotions rather than insignificant expressions. Whether he gazes at a person, a door, or an empty room, he exudes feelings of sorrow and doubt. This characteristic can occasionally be intense, but it generally works to his advantage in the emotional, time-traveling romantic drama “We Live in Time,” directed by John Crowley. This film is about Tobias (played by Garfield) and Almut’s (Florence Pugh) complex, lengthy relationship as a Weetabix sales rep and renowned chef respectively. The movie is structured around significant moments from their lives, such as their initial meeting, passionate lovemaking, pregnancy, and Almut’s cancer struggles. (These events are not spoilers; the film tells the story in a non-linear way, starting with the pregnancy before moving to the cancer diagnosis.) Scenes frequently open with Tobias appearing perplexed or wandering aimlessly, only to later reveal the specific stage of their relationship. At times, it seems as if he is unsure himself—as if we are witnessing a man navigating through the halls of his sorrow.
The film’s approach might similarly be perceived as a reaction to the polished and sterile atmosphere portrayed in We Live in Time. The frequent jumps between the storyline’s events appear designed to emphasize the sensation of time’s scarcity, suggesting that these characters are tragically bound by the unexpected brevity of their shared existence. However, it’s worth noting that these transitions also serve to mask the movie’s lack of a substantial narrative, essentially presenting a modern adaptation of Love Story, with an affluent international cooking competition as an additional element.
In a delightful turn of events, the performers are captivating to behold. Pugh, brimming with ambition and aspirations, infuses Almut with a feisty unease, which lends credence to some of the script’s less conventional decisions later on. The energy she exudes creates an intriguing juxtaposition against Garfield’s melancholic observation of this romantic catastrophe. However, their screen chemistry is questionable. The romance in We Live in Time, for me, failed to convince due to its overly sweet portrayal, and the tragic elements were equally saccharine. A film purportedly steeped in sorrow leaves one craving authenticity. Regrettably, the most genuine moment the movie offers is an extended, comedic childbirth scene in a gas station that seems more like an R-rated spin on a scene from an old Hugh Grant romantic comedy than a fitting element of this tragic tale.
In a different wording, Director Crowley is accustomed to romantic dramas; he directed the 2015 Best Picture nominee “Brooklyn”, which took a familiar theme and made it feel new. His traditional style was effective there. Now, he’s working with a script by renowned British playwright Nick Payne, which at times seems more suitable for the stage – where the confined environment and minimalist settings could enhance the significance of each scene, and where the film’s unique structure, combined with the intensity of live theater, might seem more daring. However, the on-screen tragedy is compelling; if it moves others to tears, it does so, and there were many tears at the end of my crowded Toronto International Film Festival screening. Unfortunately, my heart remained unaffected.
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2024-09-08 02:53