The film presents a world that too often feels as if it’s a product of the present day.
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The World to Come is at its sharpest when trying to articulate the alchemy that happens when theory and sensation collide with each other and morph into something new.
This is filmmaking as attuned to incremental shifts in light and landscape (Romania’s, in fact, gorgeously filling in for undeveloped upstate New York) as the ebb and flow of a character’s interior joy, written in a face unaccustomed to smiling.
An exquisitely rendered period tale, The World To Come is a slow-burning but ultimately rewarding drama of the heart.
Although arranged around a fulfilling, life-changing connection The World to Come is a deeply lonesome lovesong.
Much as I admired and was at times stirred by The World to Come, I'm convinced it would be a significantly stronger movie with 75 percent of the narration stripped away.
Scripted with heightened literary cadences by Ron Hansen and Jim Shepard, the film is well crafted in every respect, and marks an acting career high for Katherine Waterston, as well as a fine showcase for the ever more impressive Vanessa Kirby.
It's as simultaneously chilling and warming as a slug of ice-cold vodka, and just as liable to make your mind swim and eyes prick.
It is a thoughtful, unquestionably moving piece of work with much to say about the inner lives of the women at the center, but it could have used another gear
The World to Come is a ravishingly beautiful love story set in 1850s America, with painterly visuals that nod to the work of Winslow Homer and John Singer Sargent.