Movie review: We Live In Time - Baltimore Magazine
Andrew Garfield has a way of creating chemistry with just about anyone, even a shoe! This was clearly on display during his promotional tour for We Live In Time (not the best title, I must say). He has playfully flirted with his co-star Florence Pugh and, perhaps more notably, with Amelia Dimoldenberg, the host of Chicken Shop Date. The chemistry between them is so palpable it could light up a small village. To add to the heartwarming moments, he had a touching conversation about grief with Elmo from Sesame Street, sharing his thoughts after the recent loss of his mother, saying that “sadness is kind of a gift.” Seriously, Andrew, can you stop being so perfect?
This isn't meant to downplay Pugh, who is truly charming—a unique talent with a natural beauty that has undoubtedly made waves in Hollywood. She definitely holds her own when it comes to charm as well.
It's with a bit of sadness that I share my thoughts on We Live In Time, as it truly fits its silly title. The story feels unclear and underdeveloped, despite the fact that the two actors pour their hearts into their performances and genuinely make us believe they’re a real couple.
The title of the film is grounded in a fundamental idea: our past influences us, our present defines us, and our future remains uncertain. The film suggests that it's only by understanding the interplay of these three aspects that we can truly grasp the essence of a life. This isn't exactly groundbreaking insight. Director John Crowley and writer Nick Payne shift back and forth between Garfield's character, Tobias, and Pugh's character, Almut, at different points in their relationship. At times, they are a settled couple with a daughter named Ella; at other moments, we see their not-so-typical first encounter when Almut accidentally hits Tobias with her Mini Cooper. We also learn that Almut's cancer has come back, although we were unaware she had cancer in the first place.
Everything is perfectly fine. Personally, I didn’t find it all that confusing, despite some complaints. Garfield appears exactly the same throughout the movie—with his signature messy hair, the same worried expression, and those wire-rimmed glasses meant to give him a bit of an emo vibe. They could have at least given him a different facial hairstyle or changed his haircuts to help us follow the shifts in time. (In contrast, Almut sometimes sports a shaved head due to chemo.) However, these changes don’t really enhance the film. I didn't gain any deeper understanding of the couple or their motivations from the time jumps—in fact, it felt a bit like a shortcut. Just when the story begins to delve into something meaningful, bam, we’re suddenly in a different year!
Additionally, the movie has been misleadingly promoted to some degree. It isn’t really a narrative focused on Tobias and Almut as much as it is about how Tobias responds to Almut. She is the focal point of the story: her struggles, her determination, her successes, and her decisions (or the absence of them). Throughout the film, all Garfield needs to do is observe her—at different moments looking emotional, affectionate, puzzled, and, indeed, worried.
This represents a notable switch in traditional gender roles. Typically, in films, we see women portrayed as the ones who endure hardships and patiently support their adventurous husbands, who are often the protagonists. However, this portrayal is significant because Almut isn’t embarking on thrilling adventures. Instead, she faces cancer and raises a child, all while grappling with her career as a celebrated chef, feeling guilty for trying to balance it all.
Early in their relationship—perhaps too soon—Tobias expresses his desire to have children, mentioning that her uncertainty about it could be a significant issue for him. This triggers an angry response from her; she berates him, saying he’s putting too much pressure on her. As their relationship continues to develop, she faces a pivotal moment when she receives her first cancer diagnosis. She is faced with the choice of undergoing a total hysterectomy, which would eliminate her chances of ever getting pregnant, or opting for a partial hysterectomy that carries more risks but retains the possibility of conception. Ultimately, she decides on the partial procedure, and the film emphasizes that this choice is hers . . . but is it really? After all, he is the one who is truly eager to become a parent.
The story is filled with charming, traditional British romantic comedy moments—like Almut showing Tobias how to crack eggs by tapping them on a flat surface; the two having fun on bumper cars; enjoying intimate moments in softly lit rooms; savoring the scents of fresh herbs and lemons in their adorable little garden; and, of course, the classic scene where Almut takes a pregnancy test while Tobias looks on with a mix of worry and anticipation, culminating in the joyous news of her being pregnant, among other delightful moments.
The main conflict in the film revolves around Almut's decision to secretly participate in the prestigious cooking competition Bocuse D’Or while she is supposed to be resting at home during her cancer treatment. Her reasoning is that if she is going to die, she wants her daughter Ella to have an inspiring memory of her. However, the film itself seems conflicted about this choice. At one point, Almut becomes so consumed with preparing her dishes that she leaves Ella waiting outside of school in the rain. This raises the question: is this an act of female empowerment, or is it a selfish act by a mother who might not fully prioritize her daughter? The film doesn't provide a clear answer but subtly hints that it thinks Almut isn’t being the best mom.
In one of the timelines, there's a striking moment where Almut gives birth in the bathroom of a gas station (hey, it’s England). It's a scene that's both hilarious and heartfelt—Garfield and Pugh deliver outstanding performances—but it ties into my larger worries about the film. Garfield’s character, Tobias, longs for a child, and eventually, Almut comes around to the idea. Yet, it's not Tobias who is on that grimy bathroom floor, struggling and holding onto the sink as he helps Almut bring their baby into the world.
