Recognizing that time is finite is scary. When we come to terms with this, we dread the future instead of cherishing what is in front of us. ‘We Live In Time’ is a one-hour, 48-minute dramatic romance film that focuses on the present, captures the hearts of anyone who watches it, and is arguably one of the best emotional stories since ‘Five Feet Apart’ in 2019.

The story follows Tobias (Andrew Garfield) and Almut (Florence Pugh) as their surprise meeting leads to a weekend full of intimacy. Later, we see their love story standing up against the ticking clock of time. They learn to concentrate on the relationship instead of their awaiting downfall. The feature switches from before they have their child, Ella, to a few years after, when Almut is coping with her unconventional hard decision. The downside is that following the story may be hard. I spent much of the film trying to combine the pieces, whereas, on the second watch, I analyzed the characters. 

The entire time we see the couple battling hard topics: different opinions about having children, infertility, hysterectomies, cancer, and more. Tobias approaches Almut with the touchy subject of starting a family. Almut realizes quickly in her ascending bond with Tobias that he is “the one” and rethinks her decision. They go through the rollercoaster of trying for children, but come up short over and over again. 

Pugh showcases a spectacular piece of what women go through in their everyday lives, highlighting that motherhood is messy and intricate, but your loved ones are there to support you. The actress had to put on a prosthetic pregnant belly every day, immersing herself in the role. 

Garfield displayed the deepest form of love through his character when he had to help birth their child. Tobias’s natural love language is physical touch, noticeably how he’s always holding or touching her, reinforcing that he is her stability at times when she cannot fathom things. He is enamored with her, which solidifies the importance of having a partner that encourages you to chase your dreams. These emotional scenes establish a profound amount of trust with the actors and are shown through their scenes together. 

Building on this, there is a scene where Almut decides to shave her head. Tobias does this for her, and Garfield states, “It was a privilege to be given that job”, relaying the bond between the actors and characters.

The director John Crowley produces this intimate event as a calming experiment through the family, as they sit and joke about her hair in their garden. In contrast, Pugh said this scared her in an interview with British Vogue. Her trauma was reflected through being cold all the time with her scalp being so sensitive. Additionally, she explained that hair is representative of culture and memories, so shaving it was “really bizarre”.

Pugh continues to push boundaries seen in movies today, having multiple instances where we see her completely nude, predominately in the pregnant and birthing scenes. Her performance during this time captivated me by seeing someone be unapologetically themselves on screen. For a woman in Hollywood to have that kind of vulnerability is inspiring, particularly when people are eager to comment harmful things about her weight.

She remarks again in her interview that it’s important to have the confidence to play important roles such as this: “I feel like it’s my duty to play human and ugly, to translate what looks real and what feels painful”. In all, both her and the character are nothing short of brilliant.

Although these fleeting yet beautiful moments are all they have, and time is not on their side, their love is everlasting.