In the harsh, unforgiving landscape of nineteenth century America, Abigail (Katherine Waterston) is a woman disconnected from her own life.
Increasingly estranged from her husband Dyer (Casey Affleck) and traumatised by the recent death of her daughter, the arrival of Finney (Christopher Abbott) and Tallie (Vanessa Kirby) on the neighbouring farm jolts her from her lonely routine.
As their husbands work the land, Abigail and Tallie build their own private world, discovering an all-consuming love that temporarily frees them from the homelife that reasserts itself at the end of each working day.
A film of stolen moments and charged atmosphere that finds its emotional release in Abigail’s hushed narration, The World to Come’s real triumph is in revealing the terrain of the classic Western as a site for female love and resistance.
Carried by extraordinary performances from Waterston and Kirby, and a jazz score that underlines that this is a very modern take on familiar material, The World to Come tells a hidden history of America, in one of the films of the year.