Drake Doremus returns to feature filmmaking after seven years with Next Life, a romantic drama that uses the idea of parallel realities to explore love, career, and the consequences of choice. The film, which premiered at Tribeca, appears to draw from the writer-director’s own post-pandemic life changes, though it is not explicitly autobiographical. Doremus, known for Like Crazy and Endings, Beginnings, centers the story on Emilia Clarke’s Ivy, whose life splits into two distinct possibilities after a chance moment on a train in London.
In one version of events, Ivy spills coffee on herself and meets jazz musician Diego, played by Edgar Ramírez. Their encounter opens the door to a passionate relationship and also reconnects Ivy with her own long-suppressed musical ambitions. Diego encourages her to pursue her artistic side, while also offering a warm family life with his two children. In the alternate reality, Ivy misses that chance meeting and instead returns to Noah, her ex and boss, played by Jack Farthing. That path offers stability and a more conventional future, but also carries the risk of quietly discouraging Ivy’s personal dreams.
Set against the vibrant backdrop of London’s contemporary jazz scene, Next Life moves back and forth between these two timelines as Ivy experiences both the rewards and the compromises each life brings. The film features a rich musical atmosphere, including vocals from both Clarke and Ramírez. One of the most notable moments is Clarke’s rendition of “I’ll Be Seeing You,” which adds emotional weight to the story. Rather than framing one relationship as clearly superior, Doremus presents both Diego and Noah as viable, complicated partners with their own moments of joy and difficulty.
The structure can be challenging at times, as the film frequently zigzags between the two realities, but that ambiguity is central to its theme. The story invites viewers to consider the road not taken and to reflect on how small moments can alter the course of a life. The film may remind some viewers of Sliding Doors, the 1998 movie that also explored alternate lives shaped by a train ride in London, but Next Life establishes its own identity through its tone, music, and emotional perspective.
Clarke is praised as the film’s anchor, bringing grace and depth to both versions of Ivy. Ramírez adds an appealing sense of freedom and romance, while Farthing provides a more restrained but believable alternative. The result is a thoughtful meditation on fate, regret, desire, and self-discovery. For Doremus, Next Life marks a personal and creative renewal, suggesting a filmmaker who has emerged from life changes with a more mature voice and a renewed sense of purpose.
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