THE WORLD TO COME
(2020) hands us a full-fledged narrative amidst its sometimes daunting moods. Painted poetically and gracefully, two women who urge for something more beyond daily life. Fastvold’s film has its audience yearning for the love and tenderness that is rare to find. Because it’s narrative does not often stray too far from the mundane and dreary palettes of André Chemetoff’s cinematography, uses of wide shots and sweeping landscapes remind us of the turmoil our protagonist, Abigail faces. Her voice-over is reminiscent of a prophetic tone, as is everyone’s dialogue. Everyone is reserved, except for her thoughts. We are to interpret her journal entries being read as if these characters have ceased to exist centuries later.
“My heart is a maelstrom, my head a bedlam.”
As a period piece, it’s script achieves a lot, being conveyed mostly from Abigail’s POV. As the seasons pass, we begin to understand her more and more, her restricted feelings daring to be awakened. When Abigail and Tallie’s relationship begins to blossom, so does the springtime. It’s commentary on the passing seasons of 19th Century living adds to the tragedy of it all. Daniel Blumberg’s soaring score of clarinets elevates the most tender moments between these two- the snow storm scene a prime example of this. Abigail’s character is heavily relatable, as she is a “library without books,” alluding to her desire to be understood. Between Kirby and Waterson’s chemistry, there is no doubt evidence of that journey. Not only does Abigail’s confinement feel real, but it feels prominent to today’s messages on marriage. It adds to the realistic turmoil of Abigail and Tallie’s weary relationship, as Tallie remarks, she
“never liked cages.”
Their conversations make note of the elegant way of speech during that century, and the need to revive it. I was especially touched by their kitchen conversation, when Tallie recognizes the vulnerability between them. She remarks that Abigail speaks differently than she does, and that she presumes that because she is shy, she uses more of an eloquence when writing. That signed the understanding of their relationship and the communication that is vital in one. Her world only exists in what she has believed it to be growing up. It’s really fantastical for the two because the chances of true, real love has looked to be scarce until now. As they become aware of each other, Abigail begins to find her voice, “astonishment and joy, astonishment and joy.” Among their blooming love, is the prospect of their way with words. They speak one another’s love language and they bring out what the other craves, Abigail evidently makes Tallie a lover of poetry as a way to cope with the nature of their relationship, and Tallie likewise urges Abigail “won’t our farms benefit from that…” and “Intimacy increases goodwill.”They begin to have a sweeping relationship almost entirely without unnecessary words- creating a language all of their own, only to be stifled by the reality of their husbands. Rarely is it done in films to have two characters able to communicate with exchanged understanding. That’s where Hansen and Shepard’s script is most prominent. “
I imagine I love how our encircling feelings leave nothing out for us to want or receive.”
Time begins to slip away from us, as Abigail passes through time, some of it being secretive to her and each scene being stamped with a date. Her story echoes in the audience’s mind long after it’s over, these character’s beating hearts and minds not soon to forget. One of the most important period pieces yet to come out of cinema. The final line of the film will stay with me for a long time to come.
First Watch: 4.5 Stars
Second Watch: 5 Stars
