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Warning: This post contains spoilers for Eternity
Death comes suddenly in Eternity, but the story that follows moves with a slower rhythm. After bickering with his wife in the car on the way to a family gender-reveal party, Larry (Barry Primus) dies choking on a pretzel: one moment surrounded by children and grandchildren, the next jolted awake on a train, decades younger (now played by Miles Teller). He still thinks like an octogenarian, grumbling and sentimental, but the world around him has shifted into something unfamiliar—a mid-century hotel-like waystation crowded with equally bewildered souls.
This is the Junction, the film’s gently absurd, bureaucratic bridge to the afterlife. Everyone who arrives is assigned an Afterlife Coordinator and given seven days to choose one of many flavors of eternity. Beach World. Smokers World (“because cancer can’t kill you twice”). A nudist colony where it’s always 72 degrees. A Paris from the ’60s where everyone speaks English. The Junction itself feels suspended between decades: sleek halls, scenic canvases, and brutalist geometry softened by romantic skylines. It’s built to resemble utopia but registers as an artificial paradise, the sort designed to sell forever the way hawkers on a convention floor sell timeshares.
Larry wants something simpler: for Joan (Betty Buckley), his wife of 65 years, to arrive so they can choose an eternity together. Until then, he waits in his younger body for the woman who was his ballast.
But Eternity isn’t a fable about uncomplicated devotion—it’s about longing, memory, and the collision between the life you lived and the life you once imagined. David Freyne, the film’s director and co-writer, frames it as “the dilemma of choosing between your first great love and your last great love.” Inspired by films like The Wizard of Oz and A Matter of Life and Death, he wanted to build an afterlife where fantasy opens the door to something grounded. With Eternity, that…
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