The film’s detractors argue that its chopped-up chronology is a cheap trick to cover the thinness of the story – but loving someone means accepting their flaws and emphasizing their strengths, and this film has plenty
Over the last two decades, filmmakers have ceded serious love stories to period dramas. Maybe obstacles felt too false, or love itself felt too corny in our cynical age, so screenwriters sought refuge in corsets and crinolines. During the same time, rom-coms grew so formulaic, they might as well be a string of emojis: peach and eggplant meet-cute; will they/won’t they question mark; heart emoji. The com seemed to shoo away any complexity in the rom.
But even before we learn their beginnings, we learn she might be dying, because the film skips back and forth in time. The presence or absence of Almut’s bangs indicate whether the pair are in courtship, relationship, her first cancer diagnosis, young parenthood, her second diagnosis, or her last good day.
Crowley and screenwriter Nick Payne give us some lovely small moments: the way Tobias’s knees stick out of the tub in a crappy Travelodge, as he eats two lonely biscuits in the bath; the way, early in their dating, their eyes meet and hold across a crowded party; the believable way they fight, and the swoony way he apologizes. But the film sure doesn’t shy away from huge, often absurd moments.
The film’s detractors argue that its chopped-up chronology is a cheap trick to cover the thinness of the story. But loving someone means accepting their flaws and emphasizing their strengths, and this film has plenty: Pugh’s fierceness and Garfield’s ready access to emotion make them a good match; the dialogue is witty and it’s a pleasure just to listen to them talk. Most importantly, everyone involved is serious about and committed to and yes, in love with the story.
Way Love Time Almut Film People Story Obstacle Andrew Garfield Brooklyn London
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