TIFF Review: In the romantic comedy Afterlife Eternity, Elizabeth Olsen faces an unthinkable decision.

      How do you envision spending eternity? This central question drives David Freyne’s *Eternity*, a high-concept romantic comedy (co-written with Patrick Cunnane) that imagines the afterlife as an endless theme park getaway. Instead of passing through the pearly gates or descending into hell, the recently deceased arrive at a massive, purgatorial train station where they must determine their next residence. The options are abundant—beach resorts and mountain retreats, as well as quirky choices like “Smoker’s World” or “Man-Free World”—but each soul is assigned an Afterlife Coordinator to assist in making a decision, creating an experience akin to a grand travel expo in the sky.

      This scenario leaves Larry (Miles Teller) a bit perplexed as he arrives at the station after accidentally choking on a pretzel during a family gathering. He soon meets AC Anna (Da’Vine Joy Randolph), who guides him through the vast, hotel-like expanse filled with brochures and salespeople presenting their idyllic visions. Larry hesitates in making a decision because he wants to wait for his wife of 60 years, Joan (Elizabeth Olsen), before settling on where they should go together. After spending a week reflecting in a terminal apartment, he finally sees Joan stepping off the train. The twist is that she is simultaneously greeted by her first husband, Luke (Callum Turner), who has been patiently waiting for her since dying in the Korean War. This unexpected reunion leads Joan to face a different dilemma—not where to spend eternity, but with whom.

      This creates a classic romantic comedy scenario—two loves, one choice, and no chance to reconsider (or risk ending up in a void). Joan has already shared what feels like a lifetime with Larry, creating countless memories and milestones aimed at her happiness. However, encountering Luke after 67 years is akin to seeing a ghost, representing the alternate life she never led. Adding to the complexity, Joan’s AC, Ryan (John Early), believes Luke is clearly the better option, encouraging her to reconnect with him while Anna fights for Larry and their established life together.

      Initially, this premise holds some charm—Larry and Luke engage in witty banter and physical skirmishes, each trying to win Joan over with their vision of eternity. In some respects, it resembles a dramatic finale of *The Bachelorette*, with Joan locked in contemplation after both dates. Yet there’s a noticeable issue with this framework: it becomes repetitive fairly quickly, mired in a cycle of arguments, indecision, anxious glances, and tension that saps the whimsy and potential aesthetic richness of Freyne’s underutilized setting.

      Teller fits well in the role of Larry, seamlessly embodying an older man's demeanor, complaints, and background, relying on his trademark smile and charisma to present a relatable afterlife suitor. Turner’s performance, however, raises questions; while he has the looks, voice, and presence, he lacks a convincing emotional connection with Olsen. This may simply reflect good casting. As Luke, he feels more like a memory than a real person, representing a youthful, innocent love from decades past, which Joan describes as "perfect" more than once. Olsen faces the biggest challenge, portraying a woman whose identity is largely shaped by the two men she must choose between.

      This is partly what keeps the film from reaching the heights of Albert Brooks’ *Defending Your Life*, which created a more thoroughly developed purgatory with genuine narrative and relationship dynamics. Viewers root for Brooks and Meryl Streep because they are on an uncertain journey together. Freyne’s only clever twist comes when Joan considers abandoning both men for a trip to Paris World with her friend. The consistent humor arises from Anna and Ryan, whose conflicting loyalties—and their own romantic subplot—offer *Eternity* fleeting relief from its cyclical storytelling. It’s evident that Freyne is drawn to tumultuous scenarios, but like Joan, he struggles to fully commit.

      *Eternity* had its premiere at TIFF 2025 and is set to open on November 14.