‘The World to Come’ Movie Review: A Stunning Period Romance
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

Alexander, a spiritual guru, treats life as a ongoing practice: he leads developmental trainings,specializes on Tensegrity, and being a life coach is eager to help his own daughter to deal with her illness - bouts of depression. He takes her to the sea. As the drama unfolds,we observe,how the world around Alexander begins to oppose his inner practice. Everything around him lives in compliance with a unfathomable law. He is infected with something subtle,something of tremendously erotic nature. Alexander has to make an inner choice: make an act of transgression to find his way out of sensual chaos and find himself. Even if the choice has to be painful. The goal of the film is to explore human nature, which often finds itself on the verge between spiritual-religious and sensual entity.
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
This is not a slavery story, it is a freedom story. The viewers only see Harriet as a slave for the first few minutes of the film. To me, it felt like watching the origin story of a superhero…which is both good and bad.
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.
There’s been a longstanding criticism of sci-fi films about its lack of Black characters. For the past few years, Anthony Mackie has been successfully representing Black masculinity in the otherwise homogenous genre and I am here for it.
In order to learn why an arguably outdated fanfic trope was resurfacing in the contact zone of popular culture, I dove into a vibrant trough of character development.