In one sentence: Eternity is a speculative comedy drama that envisions the afterlife as a choice-filled journey where individuals decide their eternal destination.

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Most of us have probably wondered what awaits us after we pass and A24’s Eternity presents a refreshingly original answer. The afterlife here resembles a vast and bustling conference centre, complete with sales representatives pitching a variety of niche eternities. You are given seven days to choose where and potentially with whom you will spend forever and once the decision is made, there is no changing it. It is a clever and unsettling premise that raises an immediate and almost impossible question. What happens if you have not one, but two people waiting for you?

This is the dilemma faced by Joan (Elizabeth Olsen). Upon her death, she is reunited with Luke (Callum Turner), her first husband, who was killed young in the Korean War and has spent sixty seven years waiting in limbo for her. Also waiting is Larry (Miles Teller), her husband of sixty five years who died just a week before Joan after choking on pretzels. The setup leads to a romantic comedy with an existential twist, yet the film never quite settles on a single tone. It veers between light, playful humour and genuine sadness, but largely occupies the territory of black comedy. In attempting to soften such a heavy subject, the film misses opportunities to delve deeper into grief, memory and emotion. I found myself close to tears at certain points so the emotional potential is clearly there, but some of the broader comedic moments undermine its impact. That said, the audience around me was laughing out loud at times, particularly by the absurd names and marketing pitches of the various eternities.

The performances are strong overall, though I struggled to fully connect with Elizabeth Olsen’s Joan. I could not quite warm to her portrayal and wondered whether a different casting choice might have offered a more emotionally engaging perspective. Miles Teller, on the other hand, leans comfortably into the ludicrousness of the situation and delivers a solid performance. Da’Vine Joy Randolph is a standout as Larry’s afterlife coordinator, stealing scenes with ease and once again demonstrating the range that impressed in The Holdovers.

Visually, the film is striking. The colour palette and production design evoke an artificial, almost Truman Show-like quality that suits the bureaucratic absurdity of the afterlife depicted (note the painted skies). The pacing, however, can feel sluggish, and the story seems to reach several possible conclusions before finally settling on its ending. The final note may not satisfy everyone, although it is difficult to imagine a more definitive way of resolving such an impossible choice.

At its heart, Eternity asks thoughtful questions about happiness, love and commitment. Can two great loves coexist? Is a lifetime of shared experience worth more than the intensity of first love? And can emotional reciprocity ever truly be equal?

Overall, Eternity is an intriguing and original film with a compelling premise, but its uneven tone prevents it from fully realising its potential. I would have preferred a more serious exploration of its ideas, but romantic comedies remain the safer sell.

★★★ (3/5)