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Living

Living

Drama · 2022

London, 1953. Mr. Williams, a veteran civil servant, is an important cog within the city's bureaucracy as it struggles to rebuild in the aftermath of World War II. Buried under paperwork at the office and lonely at home, his life has long felt empty and meaningless. Then a devastating medical diagnosis forces him to take stock, and to try and grasp some fulfilment before it passes permanently beyond reach.

Movie details

Living

“It's never too late to start.”

2022 Drama 1h 42m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

London, 1953. Mr. Williams, a veteran civil servant, is an important cog within the city's bureaucracy as it struggles to rebuild in the aftermath of World War II. Buried under paperwork at the office and lonely at home, his life has long felt empty and meaningless. Then a devastating medical diagnosis forces him to take stock, and to try and grasp some fulfilment before it passes permanently beyond reach.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Living?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Immortal Life of Henrietta Lacks

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Where it lives

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Names above the title

The people responsible.

Directed by

Oliver Hermanus

Written by

Kazuo Ishiguro

Bill Nighy

Bill Nighy

Williams

Aimee Lou Wood

Aimee Lou Wood

Margaret Harris

Alex Sharp

Alex Sharp

Peter Wakeling

Tom Burke

Tom Burke

Sutherland

Adrian Rawlins

Adrian Rawlins

Middleton

Oliver Chris

Oliver Chris

Hart

H

Hubert Burton

Rusbridger

Court is in session

Put Living on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.