User reviews

Like all lesbian romance period pieces, it was about undeniable feelings that must be denied.

But something about it felt very deep and real. I didn't cry or feel much, but it made me think and wonder.

I really really loved the set and costumes. I couldn't find any trace that it was filmed in the 21st century.

"When the day is done, my mind turns to her and I think, why are we to be separated"

Despite ( or because of) its obvious slowness I enjoyed The World To Come. It's feel and pace reminded me a lot of Portrait of a Lady on Fire and there are other obvious comparisons .

It's the story of two neighbouring couples who battle hardship and isolation, witnessed by a splendid yet testing landscape, challenging them both physically and psychologically.

This is a love story brought on be the harshness of the environment they live in and the relationships they are stuck in.

The two women are superbly played by Katherine Waterston and Vanessa Kirby and the moment they set eyes on each other you are totally convinced they are in love .

The cinematography is superb , especially when the storm is raging and the scenery is beautiful but surprisingly it's not filmed in America it's shot in Romania.

This won't be to everyone's taste but enjoyed they pace of it and I totally believed in the characters.

Not bad at all.

Greetings again from the darkness. I'd be hard-pressed to name a movie that is more somber, front beginning to end, than this film from director Mona Fastvold (writer of VOX Lux, 2018) and co-writers Ron Hansen (THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, 2017) and Jim Shepard (based on his short story). Allowing only a few sparks of hope in the second act, the film's ending finds us nearly as beaten down as the four main characters we've just watched.

Structured as though Abigail (Katherine Waterston) is reading her own journal entries as they play out in real life, the film captures the brutal conditions of working a hillside farm in upstate New York during 1856. But more than that, it conveys the price of a joyless existence on the frontier, when days were spent adhering to chores. For everyone, this meant little social interaction; and for women this meant cooking, cleaning, and giving birth. Abigail mesmerizes with her balletic poetry in describing the drudgery of her life and marriage to Dyer (Casey Affleck). Dyer is a sullen man who says little, but remains dutiful in his responsibilities. He is attuned enough to allow Abigail her space after diphtheria claims their young daughter ... though he seems mostly unchanged by the tragedy.

Abigail's emptiness and unrequited quest for meaning seem her destiny until the day that new arrivals rent the next farm over. As Finney (Christopher Abbott) guides the wagon by, Abigail and Tallie (Vanessa Kirby) lock eyes, signaling to them (and us) that life on the frontier is about to become more exciting than collecting that day's eggs from the chicken coup. This moment arrives mere weeks after Abigail as narrator has informed us, "With little pride and less hope, we begin the new year." And just like that, she has hope.

The two women begin to spend days together building a connection first borne from isolation and loneliness, and soon growing into a true relationship. Dyer deals with his wife's affinity for the new girl with a nonchalance that masks his agitation. Finney, on the other hand, is a quietly simmering man of anger that wreaks of a violent nature just below the surface. These are combustible elements in a world where this type of relationship between women is simply not discussed or admitted.

We witness the beginning, middle, and end of the relationship between Abigail and Tallie. We see how each lights up around the other ... although Tallie's well-coiffed auburn hair always seems out of place in an environment where showers and shampoo would be scarce. It's really Abigail's narration and lyrical use of language that propels the story, and as lovely as her words are, the actual pacing of the film is a bit slow at times. Of course, that corresponds to the oppressive bleakness of this world, adding to the challenge for viewers.

The four lead performances are all terrific. The two men have less screen time and certainly less dialogue, but we never once doubt where they stand. Ms. Waterston has been a standout with her work over the past few years, and Ms. Kirby recently posted one of last year's finest performances in PIECES OF A WOMAN. She's clearly a star in the making. Composer Daniel Blumberg's work is a good fit, and cinematographer Andre Chemetoff works wonders with the muted color palette. Bucharest is the stand in for 19th century upstate New York, allowing us to see the harshness. Period lesbian romances are rare, though this is the third in a short period of time along with AMMONITE (2020) and PORTRAIT OF A LADY ON FIRE (2019). Just prepare yourself for an hour and a half of anguish. In theaters February 12th, 2021 and on digital March 2nd, 2021

On the surface this might seem to be a story about two repressed lesbians, but it is so much more than that. It is hard for us today to relate to how it was in the mid 1800s. A man married a woman so she could give him children, she could do daily chores, like milk the cow and feed the pigs and chickens. They had none of the conveniences we take for granted, any entertainment had to come from within.

This is a story spanning about the first nine months of the year 1856. Of two young couples, each working nearby farms. One had a 4-yr-old child that became sick and died. The other couple were unable to have children and the man blamed it on his wife.

So although each wife was attractive, capable, and smart the husbands came to be less and less happy with them. The two young wives found happiness being with each other, sharing thoughts and emotions they could not with their husbands. A way to bring some light into their dreary days.

Yes, when it was all done one might say they were lesbians. Or maybe they were just forced into an attraction and hidden relationship that was their only choice in this bleak existence. No matter it is a good movie and I prefer to look at it as making the best of your situation.

On DVD from my public library, my wife chose to skip.

Obviously the best of the movie are the performances, that made the movie interesting,. Kirby is just amazing and real, and waterstone is delivering a really good performance.. Both made that the story get more interesting, and felt connected. Movie has made in Rumania in a mountain where the entire cast was isolated, so the movie is as well isolated, with 2 amazing performances. If We compare with ammonites for example, I think that has note been well directes, there is a lack of details, so is one of the reasons why movie Doesn't have punch.. It's whorty just for watch the performances of kirby that is the actress of the Future, a beast of acting, and Waterston that from the inmaculate actress that seems appears at almost the same level than Kirby

This is a most melancholy film that skirts tragedy at every turn. Beautiful performances by both Katherine Waterston and Vanessa Kirby. Casey Affleck evokes great affinity in his supporting role. Very unique in our cinematic culture and definitely not for every palette. I'm not sure how I feel about it beyond what I've said. I give this film a 6 (moody) out of 10. {Tragedy}

"The World To Come" (2020 release from the UK; 98 min.) brings the story of Tallie and Abigail. As the movie opens, it is "Tuesday, January 1, 1856", and we get to know Abigail and her husband Dyer. They live on a remote farm in upstate New York, and life is not easy. Moreover, Abigail is still grieving the death of their 4 yr old daughter the previous year. Then one day another couple, Tallie and Finney, arrives in town to rent the farm next door. It's not long before Tallie and Abigail strike up a strong bond... At this point we are less than 15 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the debut of Norwegian director Mona Fastvold. Here she brings a slice of life in the 1850s. when times were tough and life could be bleak. The pace of life is much slower than today, and the movie conveys this well (and that's a plus, frankly). And last but certainly not least, people in rural areas lived isolated and lacked communication. Within that context, Abigail and Tallie discover an impossible and forbidden love that will move you. Your heart goes out to these characters as they struggle with daily life. British actresses Katherine Waterson (from the "Fantastic Beasts" franchise) and Vanessa Kirby ("Pieces of a Woman") are outstanding in the two lead roles of Abigail, respectively. Cassey Affleck stars as Abigail's husband and also produced. Please note that the entire film was shot in a stunningly beautiful forest in Romania. And to top it all off, there is a fabulous original score that is heavy on clarinets and bass clarinets, courtesy of British musician and avant garde artist Daniel Blumberg.

"The World To Come" premiered at last year's Venice film festival to immediate critical acclaim. It finally premiered in select theaters this past weekend for a short theatrical run before moving to VOD. Thankfully my art-house theater here in Cincinnati had it in its lineup and I couldn't wait to see it. The Saturday early evening screening where I saw this at was attended okay: 8 people in total, which is par for course these days while COVID-19 is still raging in this country. Most movies I see in theaters typically have 5 to 10 attendees. The rest of the movieplex looked like a ghost town. I can't imagine how these place can operate profitably. Meanwhile if you are in the mood for what life in the mid-19th century was like for two lost souls in and out of control, I'd readily suggest you check this out, be it in the theater (if you still can), on VOD (very soon), or eventually on DVD/Blu-ray, and draw your own conclusion.

This is much more of a period romance done right: it´s an excellent one. A movie that lives up the expectations thanks to striking performances, great score and really good direction. A superb work!

Filmed in Romania, it would seem: 17 years after Brokeback Mountain, two antebellum Appalacian (??) farmers' wives discover the only joy in their lives to be the dream of what might now be called a lesbian partnership.

TWTC is a bit slow to start with, there's a lot of 'this is what people had to put up with in 1856', but there's also a lot of atmosphere and earnest authenticity. The male characters come off extremely badly, which is no more than they deserve, I guess.

The balance between joy and misery is rather skewed. Joy = two women's love for each other:- misery = everything else. Well depicted, but rather too many 'Journal page' headers with narration (though this is redeemed at the end), and scenes of cows being milked. And no home-made music? Really?

Much better than the unrelentingly grim 'The Power Of The Dog', nonetheless. Impressive end credits, too.

Archetypes present in this film: Dutiful Husband - Dutiful Wife -- Corrupt Husband - Corrupt Wife; the pairs meet each other among the harsh and unforgiving frontier and a fatuous/self-absorbed performance ensues... there's honestly nothing more to see here folks. This film fails to offer any authentic insight into the lives of men and women in the 1800's (living on the harsh + unforgiving frontier), although it definitely thinks it does (from its 21st century/1st-world high chair), but there is nothing believable about the behaviors of these characters, At All. Beautiful cinematography/landscapes/costumes, great actors/narration/language, this movie had many things going for it, but the lack of realism does it's intended message (of patriarchal, oppressive, forbidden love themes) zero other favors; it's all too poetic, the way the story progresses has no sensibility about it and truly is all mindless anguish in the end---if this is what tickles your fancy, this one may be for you; otherwise, hard pass people x.

Truly one of the more heartlfelt movies I've seen in a long time, it left me in tears. Kirby and Waterstone deliver stellar performances and Affleck and Abbott were great. I'm not familiar with Daniel Blumberg's earlier work but I was absolutely floored by the score, it definitely contributed to my love for this film. Loved almost every aspect of it!

Thoroughly enjoyed this film; the lead actors captured the essence and brought same to the screen. That said, I found arguably more revealing the pathetically shallow "reviews" that captured so well their bigotry. Wow - thought we were moving beyond.

Abigail and Dyer live on a farm in 1850s upstate New York along the frontier. When Tallie and Finney arrive for a short while, Abigail and Tallie strike up a friendship that reinforces in each woman what they are missing in their lives. Amazing landscape and cinematography, Waterston and Kirby connect.

This is 2020 possible sleeper hit but has not gotten enough credit. Director Mona Fastvold has weaved together a strong period piece. It set on the east coast, during late colonial America with a well-done production (filmed in Romania).

The film's story centered on a "taboo" relationship between two frontier women: Abigail and Tallie (helmed moderately by Katherine Waterston and Vanessa Kirby). They both married, dealing the natural but brutal aspects of the land and "woman's work". Great detail was put into this film, from costuming to set design providing great sensitivity (with each scene peeling off their emotional levels). At times, these details (cinematography, etc.) are the strength of this production

In all, the film really puts the women characters front and centered rather the men (Casey Affleck, who produced this film in the cast). Its a somber portrayal of love, as the seasons pass from summer to winter. This film is not for viewers wanting a "feel good" entertainment, story, delves in story taken place within a gendered era.

2 actress were amazing, love the atmosphere of tenderness, but it's too tedious

The intentions and aesthetic aims of this are righteous and therein lies the problem.

The work is from a prose piece and it may be more successful in that medium, some of which was transferred in the overuse of the voice over narration.

As cinema it doesn't gel despite the pleasant landscapes and settings. It is as Scorsese said of most American cinema, a book with some pictures, and the sources of that weakness are in the script and the direction.

Other problems manifest in the acting which is reactive and somewhat inert, but also as in the script, which is very anachronistic. The ideas and use of speech is more akin to the present than of the mid nineteenth century in rural America.

Films are not documentaries but it strains credibility to set a story in one time and impose, perhaps unwittingly, contemporary mores. That aspect implies the righteousness, and even smugness, of the work, and as something that is implied in the title of the film.

Perhaps read the original story instead.

Against the warmest 19th century colour, when being yourself was forbidden, a relationship begins but is thwarted, with fossil control and dominance reinstated. Two great performances from Katherine Waterstone and Vanessa Kirby amplified through the acute and sensitive direction of Mona Fastvold.

We've seen this story before; in 18th century Brittany, 19th century Sicily, the Jurassic Coast and now on the American frontier.

The film starts cold and desolate; the scenery and the tone reminded me of "The Witch". The score, oftentimes foreboding, perfectly highlights the film's melancholia. It's a poetic movie, its prose languid yet charged. Stony yet lush. And the chemistry between Vanessa Kirby (Tallie) and Katherine Waterston (Abigail) radiates.

Unfortunately just like other lesbian films, it suffers from clichés: lonely star-crossed lovers, longing glances and one-dimensional (and unsurprisingly sexist) cardboard cutout husbands, it's a case of 'take something old and make it new' but it is a beautiful movie nonetheless and both Kirby and Waterston offer phenomenal performances.

"The World to Come" unlike "Ammonite" doesn't make a shocking explosion that feels disconnected from an otherwise consistent film; instead it builds up a fire, leisurely going through all the stages like that of a burning building: incipient, fire in its initial stage. A growth albeit an unsteady one. A fully developed fire, and inevitably...decay.

The fire between Abigail and Tallie knows no frontiers and it holds up an unsteady but defiant flame only to be abruptly extinguished. It ultimately leaves both the film and the audience cold. "The World to Come" is as bleak as "Ammonite" but not as lifeless.

Bodies being boring, not sure what the movie was about !!

Beautifully written, appropriately paced story of love, loneliness & desire. Great performances all around as well as the directing. I thoroughly loved this film & highly recommended it!

I enjoyed this film. Writing on how they fell in love and acted upon said love could have been improved and portrayed in a more realistic way. I felt sorry for almost every character in the movie. Overall it was pretty good.

I started off really wanting to like this movie. But ...

Katherine Waterston plays a bored wife on an isolated farm in the middle of the 19th century. She thinks her husband is a dullard and has a deep-seated conviction that's she's too good for him. Then a pretty neighbour moves in down the road so she livens up the tedium by having an affair.

This is basically Madame Bovary stripped down to a skeleton and shorn of any of the insight you'll find in that classic, but with a lesbian angle bolted on to make it seem artsy. It manages to be both dire and dour in equal proportions.