It’s fair to say at this point that any movie is going to benefit from starring Florence Pugh and Andrew Garfield. In recent years, they have proven themselves repeatedly to be some of the finest young actors currently working in the business, and whether they are part of a serious drama or a superhero blockbuster, they inject remarkable levels of emotion and charisma, and just their simple presence on screen evokes smiles.
As such, it nobody should be surprised that the stars make an exceptional duo starring together in director John Crowley’s We Live In Time, which just had its world premiere this evening at the 2024 Toronto International Film Festival. More than just featuring tremendous turns from its leads, however, what makes the movie particularly special is the execution of a terrific script by Nick Payne, which not only features a complex non-linear structure, but also constantly shifting tones that have you laughing one minute and on the verge of tears the next.
We Live In Time tells the story of Almut (Florence Pugh) and Tobias (Andrew Garfield) and their shared lives over the span of multiple years – flipping back and forth in time. Deep in their relationship, they experience a painful trial, as Almut is diagnosed with stage III ovarian cancer, and the couple must figure out the best course for themselves and their young daughter. As this tough drama plays out, the movie reveals how they have become the people they are together, from their unfortunate meeting in the aftermath of a violent car accident, to their fighting about whether or not to have kids, to their first family dinner, and more.
In it were assembled linearly, We Live In Time would likely register as a competent romantic drama carried by a pair of wonderful performances, but the challenging structure is what really makes the film work, and it’s downright impressive to watch it unfold. Scene to scene, there are registered clues that clue you in to the “when” of events that are playing out, but the audience is never spoon-fed anything and there is a remarkable flow achieved that allows for hard transitions that never take you out of the story (John Crowley, Nick Payne and editor Justine Wright all get high marks for their work).
The film can shift from Almut, a chef, considering competing in an elite cooking competition post-diagnosis to Tobias getting a haircut from his father (Douglas Hodge) before he goes to his future’s significant other’s restaurant for the first time, and its never jagged or throttling. Instead, there’s a mini thrill that you get akin to finding the piece you’re looking for while putting together a jigsaw puzzle, and before long, you register the bigger picture.
Functioning right alongside the constantly shifting narrative is the constantly shifting tone, allowing We Live In Time to be heartbreaking at one moment and chuckle-inducing in the next (and sometimes it even manages to blend the two together, like a discussion between Almut and Tobias about getting a dog for their daughter to help teach her about loss – which leads to the question of whether or not they are getting the pet with the intention to kill it). It projects a special honesty about life and relationships that deepens the characters and our emotional investment in the story. You’ll laugh as the protagonists deal with a truly terrible experience giving birth to their first daughter, and it makes it all the more painful when the couple has a terrible fight they later have about a terrible secret.
As far as narrative balance goes, the movie is more Florence Pugh’s than Andrew Garfield’s, particularly in the second half, but both stars are equally incredible in their respective roles. They have a fantastic on-screen chemistry that sees you wanting them to make it in their relationship (though admittedly, the nonlinear structure eliminates any tension that they won’t), and their range is successfully tested thoroughly. They’re individually so good and their characters are so well constructed that it’s actually difficult to take either one’s side in a conflict, as Almut and Tobias both feature valid perspectives based on individual experiences and deliver matching gravity in how they express them. They provide an awesome balance of delight and devastation.
Already set for theatrical release on October 11, We Live In Time‘s Toronto International Film Festival premiere is clearly part of a strategy to earn the feature early buzz going into the awards season, and that has proven to be a very successful mission. The movie boasts major star power and backs it up with excellent storytelling and filmmaking, and overall, it’s a rewarding and romantic cinematic experience.
