Joan finds herself in a rather peculiar situation, one that is both delightful and perplexing. After succumbing to cancer in her old age, the retired librarian unexpectedly wakes up in a lively train station dedicated to the afterlife. Here, she encounters a dapper “afterlife coordinator” who presents her with options for the eternity she might choose. With salespeople pitching their versions of heaven from colorful expo booths, Joan is faced with the amusing task of deciding how she wants to spend her afterlife. The choices range from a hedonistic escapade reminiscent of Studio 54 to a chain-smoking haven known as Cigarette World. However, Joan has more pressing matters at hand: she must choose between two significant men from her life to accompany her into eternity.
Joan, portrayed by Elizabeth Olsen, appears as she did during a peak in her life, somewhere in her 20s or 30s. On one side is Luke (Callum Turner), her first husband who has been patiently waiting since his death in the Korean War. On the other, Larry (Miles Teller), her devoted second husband and the father of her children, who recently passed. This romantic entanglement sets up a classic dilemma that’s amusingly relatable, even when facing death.
“Eternity,” directed by David Freyne in his first American production, provides a light-hearted yet ultimately superficial look at love and companionship beyond the grave. The film steps into a genre often overshadowed by streaming platforms, breathing fresh life into the romantic comedy space with its visually engaging storytelling. Although the love triangle narrative falters, the filmmakers cleverly immerse the audience in a colorful and captivating world, accentuated by solid performances from the cast.
With the film’s vibrant set design and mid-century modern aesthetic, production designer Zazu Myers creates an enchanting environment in the train station, dubbed the Junction. The brutalist architecture and nostalgic color scheme provide a compelling backdrop that enhances the storytelling. Cinematographer Ruairi O’Brien utilizes anamorphic lenses to craft expansive visuals, allowing viewers to experience the afterlife through Joan’s wide-eyed wonder.
While Olsen delivers a commendable performance as the conflicted Joan, the highlight of the film is undoubtedly Da’Vine Joy Randolph as Anna, Larry’s afterlife coordinator. With her quick wit and lively demeanor, Randolph brings a depth to the character that offers both humor and a nuanced understanding of the afterlife’s complexities. The dynamic between Anna and her colleague Ryan (John Early) adds a layer of comedy that enhances the film’s charm.
Despite its strength in world-building and character performances, “Eternity” ultimately struggles to delve into deeper themes surrounding regret and the existential questions of life and death. As the storyline trudges on, it begins to lose momentum, leaving viewers yearning for a more profound exploration of Joan’s dilemma. While the film starts with an engaging premise and visual allure, it does not fully capitalize on the opportunity to explore its characters or their emotional arcs in a meaningful way. Nevertheless, “Eternity” holds an endearing quality, showcasing the comedic potential in a uniquely imagined afterlife, and reminds us that even in death, the complexities of love and companionship endure.