Your Company


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United Kingdom · 2017
1h 58m
Director Andy Serkis
Starring Andrew Garfield, Claire Foy, Hugh Bonneville, Tom Hollander
Genre Drama, Romance

When Robin contracts polio at the age of 28, he is confined to a hospital bed and given only months to live. With the help of his wife, Diana, and the groundbreaking ideas of inventor Teddy Hall, he and Diana dare to escape the hospital ward to seek out a full and passionate life together.

Stream Breathe

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What are critics saying?

50 by Brian Tallerico

The performances and the inherent power of the true story keep it from being a complete disaster, but one hopes Serkis moves on to more challenging material with his follow-up.


IndieWire by Eric Kohn

It’s a gorgeous, romantic drama that earns its emotional resonance without venturing beyond the most familiar beats.


Variety by Guy Lodge

This earnestly romantic biopic of odds-beating polio patient Robin Cavendish and his unwavering wife, Diana, keeps its eyes moist and its upper lip stiff to the last — but its sweeping inspirational gestures rarely reach all the way to the heart.


Empire by Helen O'Hara

There's a hint of comforting, chocolate-box, Sunday-night TV here, but it's delivered via such quietly powerful performances and with such hope that it's hard to resist.


The New York Times by Jeannette Catsoulis

Offering no hint of the backbreaking drudgery and mental strain of their predicament, this gauzy picture (produced by the couple’s son, Jonathan Cavendish, and directed by his friend, the actor Andy Serkis) is a closed loop of rose-tinted memories.


The Hollywood Reporter by Stephen Dalton

Breathe is clearly aiming for the same heart-wrenching emotional heights as James Marsh’s Oscar-winning Stephen Hawking biopic The Theory of Everything. But this is very much a crude copy, its noble intentions hobbled by a trite script, flat characters and a relentlessly saccharine tone that eventually starts to grate.


Screen International by Wendy Ide

The lack of emotional distance between the filmmakers and the subject – producer Jonathan Cavendish is the son of Robin and Diana – might account for the bracingly celebratory approach. This is understandable, perhaps, but it results in a lack of dramatic light and shade, and an absence of texture in the characterisation.

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