FILM REVIEW – A musical and “romcom” inspired by American pop classics, blending modern-day dilemmas with 30-year-old nostalgia. The film’s dual timelines hinge on the discovery of a diary and love letters that uncover a mother’s whirlwind romance from the summer of 1994. Through a series of musical numbers, the past unfolds alongside the present—just as you’d expect in any musical.

With a budget of $2 million in taxpayer funds, our protagonist Lili is the quintessential urban heroine of our era: lonely yet determined to convince herself that solitude is an empowering life choice. One day, while tidying up her parents’ apartment, she stumbles upon a stash of old letters her mother had evidently hidden for good reason. But who can resist the allure of a little light snooping? Certainly not Lili, who ropes in her siblings and best friend to unravel the past—and with it, a hearty serving of nostalgia.

“…Sunshine on my shoulders makes me happy…” (John Denver)

Before you know it, we’re transported to the early ’90s, a summer at Lake Balaton, where three friends are determined to make the most of their vacation. Among them, Eszter (Franciska Törőcsik) stands out as the dutiful one, committed to staying faithful to her lackluster boyfriend back home. This noble resolve, of course, gets thrown into disarray when Gergő (Márk Ember) enters the picture—a charming musician who performs nightly with his band at the local beach bar. Because, naturally, what’s a summer romance without a Balaton beach band?

What follows is a swirl of confusion, a splash of romance, a few kisses, and a slap or two—the usual ingredients for a romcom that premieres in December but screams summer. And does all this somehow impact the next generation? You bet it does! Because if a Balaton summer and a love train are involved, there’s got to be a multi-generational ripple effect.

Love at First (Nose)bleed

How Could I Live Without You? confidently trots out every romcom trope in the book, occasionally hitting genuinely funny moments but often settling for scenes that merely aspire to humor. Take the meet-cute between Eszter and Gergő, for instance (teased in the film’s trailer): a rogue volleyball smacks Eszter in the face while she’s chatting with her friends, resulting in a nosebleed. Enter Gergő, the accidental assailant, who’s been playing ball with his buddies. Cue the love story.

Predictably, two of the three couples in the group fall for each other instantly (despite zero on-screen chemistry between the supporting characters), leaving Eszter and Gergő to navigate their ‘complicated’ dynamic. Eszter, still nursing her bleeding nose, is understandably hesitant. But when the group is invited to a party, her friends gleefully accept, leaving Eszter no choice but to tag along. At the party, we discover that Gergő’s band, Kuplung, has a knack for covering John Denver’s greatest hits. A cringe-inducing subplot forces Eszter to showcase her piano and vocal talents when the band’s keyboardist is conveniently injured. The scene feels more like a contrived plot device than an organic moment, but hey, anything to move the story forward, right?

The story’s twists and turns are painfully predictable, not least because we know from the start that Eszter’s late husband is named Márton. This foreknowledge robs the tale of any real tension; instead of adding dramatic weight, it merely spoils the ending before we even get there.

“…The train pulled out and broke their hearts…”

One unintentionally comedic highlight (and not in the way the filmmakers intended) is how classic songs are shoehorned into the narrative. Take the band’s rendition of “Take Me Home, Country Roads” while waiting for Eszter to board the train. When she doesn’t show, the train departs, and the band bursts into song to lament their heartbreak. It’s almost as if we finally understand why Denver’s heart was breaking. Bravo?

Then there’s “I Will Survive,” performed after one character dramatically announces that the band is headed abroad and that their relationship is doomed. Naturally, this segues into an elaborate musical sequence, culminating in the girl literally letting go of the guy, who promptly falls into the lake. Get it? She let go! Hilarious.

The musical numbers are often forced, with lyrics clumsily inserted to ‘explain’ the plot. The poetic essence of these classic songs is stripped away, replaced with overly literal interpretations that feel more like a parody than a tribute. Even for someone who’s not a die-hard musical fan, this approach feels misguided. Songs in a musical should elevate the story, not club the audience over the head with its themes.

Angel Girl

Despite the overly simplistic and heavy-handed script, the direction and performances are competent. The pacing is tight, the editing sharp, and the cinematography polished. The cast delivers solid performances, with Franciska Törőcsik standing out as Eszter.

She manages to inject depth into an otherwise clichéd role, making her both compelling and relatable. Törőcsik’s talent shines through in a way that makes you hope to see her in more substantial dramas in the future. The rest of the cast does a respectable job, though Marcell Kirády’s over-the-top portrayal of the bumbling bandmate borders on grating. To be fair, much of this can be blamed on the script.

Rather Look to the Skies

How Could I Live Without You? tries to sell itself on nostalgia but ultimately gets bogged down by its clunky storytelling and over-engineered musical sequences. While the cinematography and Franciska Törőcsik’s standout performance provide bright spots, they’re not enough to overcome the abundance of tropes and predictable plot beats. The film’s attempt to blend modern musical elements with old-fashioned romance feels more like an identity crisis than a coherent vision. The result is a mixed bag that might elicit a few smiles but is unlikely to leave a lasting impression.

-Herpai Gergely “BadSector”-