We Live in Time presents itself as a rom-com, albeit one that defies easy categorisation, weaving a smart and intelligent narrative that resonates long after the credits roll. The film's strength lies undeniably in the palpable chemistry between its leads, Florence Pugh and Andrew Garfield, both delivering performances that are nothing short of exceptional.
Pugh, as ever, proves her versatility, embodying a character grappling with a life-altering diagnosis of ovarian cancer. Her portrayal is nuanced, showcasing both vulnerability and fierce determination. Garfield, equally compelling, complements her perfectly, creating a dynamic that feels authentic and deeply moving. Their on-screen connection is electric, drawing the audience into their complex and evolving relationship.
The film's narrative structure, leaping back and forth in time, initially seems fragmented, but ultimately serves to deepen our understanding of the characters' journey. The unconventional meet-cute, where she literally runs him over with her car, sets the stage for a story that is anything but predictable. The emotional core of the film hinges on the stark reality of her diagnosis, with the looming question of whether to pursue chemotherapy creating a constant undercurrent of tension.
While the film addresses serious themes, it avoids veering into melodrama. It’s a moving story, certainly, but not one that descends into weepy sentimentality. Instead, it maintains a delicate balance between drama and moments of genuine warmth and humour, reminiscent of the classic British charm of "Four Weddings and a Funeral," albeit with a more modern and introspective edge. It's a film that's far too sophisticated to be labelled a simple 'chick flick'.
The inclusion of nude scenes, both having sex and various pregnancy-related exposures, while potentially controversial, feels integral to the film's exploration of intimacy and vulnerability in the face of mortality. The scene where she gives birth in a petrol station's toilet is jaw-dropping! The film doesn’t shy away from the physical realities of the character’s illness, either. It could even be interpreted as a poignant, if unconventional, ode to ovarian cancer, highlighting the challenges faced by those living with the disease.
The exploration of their desire to start a family, juxtaposed with the character’s illness, adds another layer of complexity. Pugh's character’s competitive streak, stemming from her father's influence and her childhood ice-skating, is subtly woven into the narrative, providing insight into her drive and resilience. She's a master-chef, restaurant owner, and woven into the story is the competitive backdrop of her entering a competition, spending time doing that with what she has left, instead of what's important, being with her family.
The film masterfully employs visual storytelling, creating tension through lingering shots of the actors' faces, allowing the audience to glimpse their inner thoughts and anxieties. This technique underscores the film's focus on the emotional landscape of its characters, adding depth and nuance to their performances. Florence Pugh is such a terrific actress - every time I see her, she seems to get better.
Finally, the young actress playing the couple's daughter delivers a terrific performance, adding a further emotional layer to the film. One does wonder if she has family ties to either lead, given the natural performance. Highly recommended and now just making it out of cinemas into a few streaming services in the UK. This review by me, assisted by Gemini 2.0 Flash.
