We Live in Time is an exploration of love, grief, and the fleeting nature of life’s most precious moments, produced by A24- a studio known for its emotionally-resonant and thought-provoking films, and starring Florence Pugh as Almut and Andrew Garfield as Tobias. This is a film that captures the beautiful, messy realities of modern relationships—the mundane moments, the big decisions, and the quiet spaces in between—with a rawness and sincerity that has played on my mind since the credits rolled.
Right from the opening sequence, the film hooks you with its editing. We’re thrown into scenes that feel like they belong at the end of the story—snippets of heartbreak and laughter that tease the journey ahead. It’s a clever structure, one that draws you in with questions: How did they get here? What happened? It’s not a conventional, linear narrative, but that’s precisely what makes it so compelling. The pacing is brilliant and, despite its heavy themes, the film never drags. Instead, it ebbs and flows like real life—sometimes slow, sometimes overwhelming.
One of the film’s strengths is its soundtrack, which feels perfectly curated to match each emotional beat. When we first see Pugh and Garfield’s characters get together, we’re greeted with the ethereal sounds of ‘I Dare You’ by The xx, and, in a later intimate moment, ‘How Can I Make It Ok?’ By Wolf Alice. These songs aren’t just background noise; they capture the euphoric, all-consuming feeling of falling in love. It’s a soundtrack that speaks to a generation—both Millennial and Gen Z—grounding the story firmly in the present.
While, yes, the premise is sad—a young couple grappling with terminal illness— it’s also surprisingly funny. There’s a scene where Tobias is trying to manoeuvre out of a tight parking spot while Almut is in labour. It’s so British in its politeness and absurdity. She’s literally about to give birth, and she’s reassuring him with lines such as “no worries”. It’s these relatable moments of humour that make the overall heartbreak more bearable for the viewer (and characters, I imagine).
The dialogue is sharp and real. There’s a scene where Almut informs Tobias of her ovarian cancer diagnosis, and Tobias responds with, “Your note-taking is incredibly thorough, by the way.” It’s the kind of line that cuts through the tension with humour, capturing how people often cope with devastating news—by holding onto small, mundane details.
What makes We Live in Time stand out is how it feels so “now.” It’s a story that could be happening to you or a friend. When Pugh’s character is asked about kids after only a few weeks of dating, she responds with a somewhat complicated retort: “Fuck you for even asking.” It’s a moment that sparks debate—is she overreacting? Is Garfield's character being realistic? Is he asking too much too soon? The film doesn’t take sides; it lets us sit in the ambiguity of modern relationships and the pressures surrounding life milestones.
The realities of trying to conceive are portrayed with sensitivity. The film doesn’t shy away from the emotional toll it takes, as well as the emotional toll of bringing a child into the world where Almut clearly feels a sense of loss of self. The most significant argument scene between the two leads later in the film, whereTobias finds out she has been training behind his back for a cheffing competition, is nothing short of award-worthy. Pugh’s character screams, “I don’t just want to be someone’s dead fucking mum.” It’s a raw, gut-wrenching moment that captures the fear of being forgotten, of not leaving a mark on the world. It’s a fear we all share—the desire to be remembered, to matter.
But the film also acknowledges the pain of those left behind. In this same argument, Tobias heartbreakingly asks Almut arehimself and their daughter not enough for her? It's a beautiful and brutal response. I think both characters' reactions represent how different people feel about life. One sees the significance in the everyday and one wants something bigger. Garfield’s character struggles with his partner’s priorities; when she chooses a significant career achievement over their wedding, it’s a moment that feels deeply human. He’s hurt, but she deserved to be there. It’s a nuanced exploration of how people navigate love, ambition, and mortality. Neither is entirely right or wrong—they’re just human.
One of the most touching relationships in the film is between Almut and her commis-chef, Jade. It’s a quiet, tender dynamic that highlights the importance of platonic love and support. Life isn’t just about romantic relationships; it’s about the connections we build in all aspects of life.
We Live in Time is my favourite kind of film—a slow, character-driven slice of life. It’s the kind of story some might dismiss as slow or uneventful but, to me, it’s beautiful. It finds meaning in the everyday—in conversations over coffee, in shared glances, in moments of silence. Normal life is beautiful, and this film captures that perfectly.
Again, the editing elevates it beyond a typical drama. It’s paced like an action film, with tension and momentum, ensuring that even those who shy away from “quiet” films will be hooked. It’s a reminder that life itself—with all its ups and downs—is the most profound story of all.
In the end, We Live in Time is a celebration of life’s fleeting beauty. It reminds us that life is hard, short, and often heartbreaking, but that it’s also filled with moments of joy, humour, and connection. It’s about noticing the small things—the everyday magic that makes life worth living.
If you have had the pleasure of enjoying this film, I recommend watching Call Me by Your Name, Perfect Days, Past Lives, Before Sunrise, and Little Miss Sunshine. And a special mention to Soul, because, like this film, it reminds us that the meaning of life isn’t about finding a grand purpose- it’s about noticing the little things; the everyday moments that make us who we are.
Edited by Cormac Nugent
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