Still courtesy of A24
By Quinn Kinsella
We Live in Time is a new film that pushes the boundaries of storytelling and questions abstract topics such as time and love. Starring Florence Pugh and Andrew Garfield, directed by John Crowley and distributed by A24, it is destined to become one of the most beloved films of the year. Featuring two of the most likable and well-known faces the film world has to offer, Andrew Garfield and Florence Pugh give some of their most heart-wrenching as well as comedic performances that are sure to garner attention this upcoming awards season. This film offers laughter, tears, and that fuzzy feeling that can not be described.
John Crowley has proven to be a master of sprawling, lavish character studies. His most recent and well-known films are adaptations of Colm Tóibín’s Brooklyn and Donna Tartt’s The Goldfinch. With his newest film, Crowley shoots from a screenplay penned by Nick Payne, a celebrated British playwright and screenwriter. The story follows Almut and Tobias, played by Pugh and Garfield respectively, as their paths cross and they start a life together. The movie follows a nonlinear approach, which may throw some viewers off, but Crowley does an expert job of giving the audience visual cues that identify where we are in time. Telling a story with this style is not superfluous, and Crowley uses this method for a very important purpose: to highlight how abstract and fleeting time really is. It is hard to do, but when done right, it greatly compliments the story. Crowley achieves a harmony that very few other directors have with nonlinear storytelling, with Andrei Tarkovsky’s Mirror and more recently Greta Gerwig’s 2019 adaptation of Little Women as some of the most notable examples of this unique style.
The performances in We Live In Time are some of the most compelling of the year. Pugh and Garfield bear it all and their chemistry is off the charts. Pugh has repeatedly proven she is one of the strongest actors of her generation with her versatility in films such as Midsommar and The Wonder, giving her most grounded performance in her most recent work. She plays Almut, a successful chef and restaurant owner whose commitment and confidence lead her to be a strong-willed force of nature. As for Andrew Garfield, We Live In Time shows a version of him audiences have never seen. He plays sensitive and recently divorced Tobias, gathering up the pieces of his life and trying to make sense of the world. Tobias meets Almut when she hits him with her car in one of the most comical and moving meet-cutes in recent years. Garfield’s teary-eyed monologues and Pugh’s piercing gaze and resilience make for an emotional rollercoaster of a theatrical experience, but one that is gratifying and hits all the right beats. Never once does it feel self-indulgent or excessive. Seeing it in a crowded theater, there was laughter throughout, and as the credits rolled, sniffling and crying could be heard . . . bring your tissues.
We Live in Time is beautiful to look at and listen to. With cinematography by Stuart Bentley and music by Bryce Dessner, this is one of the most visually and sonically stunning features of 2024. Crowley previously collaborated with renowned director of photography Roger Deakins on his last film The Goldfinch, and his newest film has that same golden-hued brilliance to it. Bentley works with light and dark enclosed spaces to create opportunities and dead ends that mirror those in the story. Dessner’s score is hopeful and romantic and is as vibrant and optimistic as the cinematography. He is a member of the band The National and has collaborated with the likes of Phillip Glass, Paul Simon, and Taylor Swift. The union of the imagery and music work harmoniously to drive home the importance of the time given to us. The editing joins these two ingredients to display a purposely disorganized story that highlights the randomness of life. The relatable characters are caught up in their own selfishness, grief, and joy and the music mirrors the trials and tribulations they find themselves in throughout the movie. Dessner’s gentle guitar melodies and lilting flutes combined with Bentley’s grounded yet shimmering cinematography create an atmosphere that the audience can bask contemplatively in for the 107-minute run time.
For a film about the importance of time, We Live In Time urges audiences to make the most of theirs, to make every second count. This is one of those rare films that has the chance to change someone’s mindset. Although dealing with heavy subject matter, the movie is light on its feet and doesn’t shy away from the ugliness and profound beauty that life offers. If you see this movie with a loved one, you’ll be squeezing their hand as the credits roll. If you’re seeing it with friends, you’ll cry and laugh together. And if you’re seeing this movie by yourself, you may just walk out of the theater a changed person.
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