‘We Live in Time’ Review: You Can’t Scramble a Love Story Without Breaking a Few Eggs

As a seasoned cinephile who’s been through more plot twists than a bag of licorice, I must admit that “We Live in Time” is a peculiar piece of work. The non-linear narrative approach seems to be the latest trend in storytelling, but it’s not often we see it executed quite as haphazardly as this. It’s like watching your favorite recipe book shuffled and rearranged by an overzealous toddler with a penchant for chaos.

In one instant, prize-winning cook Almut (Florence Pugh) is rousing Tobias (Andrew Garfield) to taste her newest creation, and in the next, it’s the dead of night, with expectant Almut now sitting on the toilet as Tobias keeps track of her contractions.

Compelling love narratives are built upon both significant and trivial incidents. In “We Live in Time,” author John Crowley aims to create a condensed version of a typical romantic comedy, presenting the essential scenes from Almut and Tobias’ relationship – encounters with each other’s families, marriage proposals, parenthood, divorce, cancer diagnoses, etc. – but not necessarily in the traditional sequence.

Crowley believes that the captivating chemistry between Pugh and Garfield in his movie is strong enough to make viewers want to watch it repeatedly. Eventually, Almut and Tobias’ characters will feel like our own memories, and the specific sequence of events won’t seem important. This film concept comes from playwright Nick Payne, who is known for his work, and it appears less complex than his 2012 one-act “Constellations”, a romantic piece set in multiple universes, which was written before multiverses gained popularity.

In the story “We Live in Time,” there’s only one reality, mirroring how most humans perceive life. Crowley suggests that the emotional impact might be stronger if the events are arranged strategically. While it’s common for storytellers to organize scenes according to their narrative, this story stands out by rearranging them in a less conventional manner than usual.

Shortly following the peculiar taste-testing scene in bed, Tobias finds himself in his father’s spare room, pondering his meal choice before work at the Weetabix company. To put it mildly, this sequence of events is perplexing, given the remarkable ability of our brains to piece together fragmented narratives. If you managed to follow “Everything Everywhere All at Once,” then navigating “Some Things Sometimes in No Particular Order” should be a walk in the park. However, that’s not the case, as organizing nonlinear stories is an intricate skill (much like in “Eternal Sunshine of the Spotless Mind” or works by Atom Egoyan). This particular narrative has a habit of establishing certain events but then failing to revisit them afterwards.

Strip away the narrative device, and you’re left with an ordinary cancer drama centered around Almut’s diagnosis: Stage 3 ovarian cancer, a recurrence of a previous battle with the disease. Previously, Almut had to choose between removing a single affected ovary or her entire uterus. However, the decision they made is not new information, as the couple has a daughter, Ella (Grace Delaney), who we’ve seen helping her mom shave her head for another round of treatment.

In discussing timeframes, it’s interesting to mention that director Crowley has witnessed Andrew Garfield evolve over time. Notably, he was instrumental in introducing the actor who would later become Spider-man, casting him as a troubled teenager in “Boy A” back in 2007. This implies that “We Live in Time” serves as a reunion for both parties, presenting a more mature production for them, yet one with a touch of manipulation. Crowley leverages the chemistry between Garfield and Pugh, but also relies on Payne’s ability to portray the cutest stages of their relationship’s significant milestones.

Instead of revealing the culmination of their ten-year love story, let’s focus on their first encounter, when Almut unexpectedly hits Tobias with her car. This initial moment is certainly unforgettable, but when Crowley presents it, we’ve already been to the hospital, making it a bit confusing to determine who is the patient (a hint: it’s the one wearing the neck brace). “Meeting adorably. Dying even more adorably.” This could be the tagline for a movie that aims to make every scene as charming and endearing as possible.

Cancer is an ugly disease, and if we accept it here as more than just a device, then “We Live in Time” could be a comfort. (Then again, the filmmakers seem so committed to forcing an emotional reaction, terminal illness could be a cynical page from the Nicholas Sparks playbook?) So many of the moments Crowley presents are touchstones in most people’s lives: the childbirth scene is a showstopper, and Tobias’ proposal — sheepishly delivered at the end of a hallway lined with candles and carrots — ranks up there with Hugh Grant classics.

The depicted romance in this story offers a comforting escape for those who have battled cancer, although its portrayal might leave ordinary readers questioning their own relationships’ authenticity. However, “We Live in Time” distinguishes itself by giving genuine weight to the female character’s worries. Tobias proposes marriage and starting a family, but this strong-willed and self-made woman has personal ambitions that take precedence over domestic life – and the courage to stand firm on her choices.

Following Almut’s second cancer diagnosis, she confides in Tobias by asking him a hypothetical question: What if, instead of undergoing a year of treatment, they were to make the most of the time left? This hints at the possible underlying reasoning behind the film’s unusual timeline, as Tobias cherishes memories (the flashbacks could very well be his, presented primarily from his viewpoint) while Almut focuses on living each moment to its fullest (her dedication to a culinary competition propels the storyline).

Who doesn’t appreciate a well-crafted cooking scene or two? They provide a nice contrast, sandwiched between makeup sessions, breakups, and passionate kisses. On more than one occasion, Crowley instructs us on the proper technique for cracking eggs (on a level surface). If only there were a method to de-jumble his film.

2024-09-07 09:46

‘We Live in Time’ Review: You Can’t Scramble a Love Story Without Breaking a Few Eggs

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