Rather than fetishise fatalism, Hansen-Løve paints her protagonist's setbacks as things that are inherently bound up in life's lottery. Notice the way these unfortunate revelations pass by without fanfare, but moments of quiet observation and contemplation are lingered on.
Huppert plays a philosophy teacher, and Things to Come washes over us like many philosophical texts—a profundity that hits us even when we do not comprehend. There's something to the familiarity of these frames. Scenes move us because, perhaps subconsciously, they mirror moments and textures from our own lives. It's these textures that are especially integral to the film's resonance—not what light exposes but the musicality of the light. Huppert's performance is rich with nuance, reaffirming her status as one of the most adept conveyors of emotion alive today. It's often pointed out when an actor can "bounce off" other actors, but no one is better at bouncing off nobody than Isabelle Huppert. She is serene in her solitude.