Can a nonlinear narrative capture the emotional logic of a life nearing its end?

Can a nonlinear narrative capture the emotional logic of a life nearing its end?
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In short: We Live in Time follows a decade-long romance between a chef and a staffer, using a fragmented structure to mirror how we recall our most pivotal moments. While critics debate the effectiveness of its timeline, the film offers a poignant look at how we reconcile ambition, love, and mortality.

Directed by John Crowley and written by Nick Payne, the 2024 romantic drama We Live in Time tracks the relationship of Almut Brühl, a chef, and Tobias Durand, a Weetabix employee. Their story begins with an unconventional meeting—a car accident—and unfolds across a decade. The film employs a nonlinear narrative, a stylistic choice that some critics argue creates an emotional logic reminiscent of how individuals might reflect on their lives as they approach death. Others, however, find the sequencing arbitrary, suggesting it occasionally distances the audience from the characters.

The central conflict arises when Almut is diagnosed with ovarian cancer. As the disease progresses to stage 3, the couple faces profound decisions regarding treatment, parenthood, and Almut's professional aspirations, specifically her participation in the prestigious Bocuse d'Or cooking competition. These life-altering events force them to navigate the tension between spending limited time together and Almut's desire to be remembered by their daughter, Ella, as an accomplished professional rather than someone defined by illness.

The performances of Andrew Garfield and Florence Pugh have been widely praised, with many reviewers noting their palpable chemistry as the film's anchor. Despite mixed critical reception—ranging from Benjamin Lee’s four-star review in The Guardian to more skeptical takes regarding the script’s depth—the film has resonated with audiences. As of January 2025, it has grossed $58.7 million worldwide. Ultimately, the film serves as a meditation on the trade-offs we make when time is finite, capturing the messy, often painful reality of choosing how to spend one's final chapters.

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