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The World to Come

The World to Come

Romance · Drama · Western · 2021

In 1856, two women forge a close connection despite their isolation on the American frontier.

Movie details

The World to Come

2021 Romance · Drama · Western 1h 45m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

In 1856, two women forge a close connection despite their isolation on the American frontier.

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 The World to Come?

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 World Unseen

The World Unseen

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A drama centered on two women who engage in a dangerous relationship during South Africa's apartheid era.

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As a filmmaker and his girlfriend return home from his movie premiere, smoldering tensions and painful revelations push them toward a romantic reckoning.

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A Woman of Paris: A Drama of Fate

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Below Her Mouth

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An unexpected affair quickly escalates into a heart-stopping reality for two women whose passionate connection changes their lives forever.

All of Us Strangers

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One night in his near-empty tower block in contemporary London, Adam has a chance encounter with a mysterious neighbor, which punctures the rhythm of his everyday life.

Where it lives

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Names above the title

The people responsible.

Directed by

Mona Fastvold

Written by

Ron Hansen · Jim Shepard

Katherine Waterston

Katherine Waterston

Abigail

Casey Affleck

Casey Affleck

Dyer

Vanessa Kirby

Vanessa Kirby

Tallie

Christopher Abbott

Christopher Abbott

Finney

Kim Ciobanu

Kim Ciobanu

Widow Weldon's Son

Daniel Blumberg

Daniel Blumberg

Tinker

Andreea Vasile

Andreea Vasile

Mother

Court is in session

Put The World to Come on trial.

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

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.