NEXT LIFE

CREDITS

Director & Writer:  Drake Doremus

Cast:  Emilia Clarke, Edgar Ramírez, Jack Farthing

Producer: Elika Portnoy, Ben Pugh, Kate Buckley, Drake Doremus, Gleb Fetisov, Emilia Clarke, John Palfery Smith

Editor: Avner Shiloah

Cinematography: Marianne Bakke

Composer: Dan Romer

Production Company: Mutressa Movies, 42, Fetisoff Illusion, Magical Thinking

Accolades

“Doremus skillfully navigates this…narrative which zig zags back and forth between these two alternate and very viable realities, fusing them with the vibrancy of London’s jazz scene and some lush vocals for both Ramirez and Clarke…” – Pete Hammond, Deadline

“Next Life is the best thing Drake Doremus has made since Like Crazy, and it works for many of the same reasons. Doremus has always trusted silence more than most directors working in this register, and here he lets the film breathe. We get to sit with the characters and their emotional states, to hear the pauses in their conversations, to catch the subtle looks and lingering stares that say more than dialogue would. It’s a welcome corrective to so much of what romance on screen has become, a parade of quickly paced films that rarely slow down long enough for us to understand who anyone actually is. By easing off the gas, Doremus gives us a real sense of these people.” – Miguel Mateo, The Cinephile Mind

“…with Next Life, a riff on Sliding Doors that rides the strength of an engaging lead turn from Emilia Clarke to charm, the director’s gifts for giving actors an opportunity to do something they haven’t before and his slippery editing, often dabbing in scenes as if they were brushstrokes on an impressionistic painting, actually proves to be a great fit for the material, never letting the inciting incident overwhelm the rest of the story.” – Stephen Saito, The Moveable Fest

“The film’s dual-timeline structure is its sharpest narrative tool… Doremus moves between these paths with clear visual signposts, using wardrobe, lighting, and interior design to keep the viewer oriented. The editing gives the film a pleasing, almost musical alternation, like two standards played in different keys.” – Caleb Anderson, Gazettely

“[Drake Doremus] and his team make the dual-timeline structure remarkably seamless. We can easily follow the difference immediately due to a wardrobe change of a denim shirt and jeans in the one timeline where Ivy spills her coffee on herself and Diego. The editing between timelines is well done, too, making the storytelling easy to follow and never jarring in its transitions.” – Sara Clements, Next Best Picture