Rushing to her goddaughter's christening, Ivy spills coffee over Diego, a soulful jazz singer, and a romance neither of them expected begins. In another version of that day the accident never happens: she arrives alone and reconnects with Noah, her former fiancé and onetime boss, who once betrayed her and now wants her back. Cutting between the two timelines, the film follows Ivy as she builds a business and plans a family with Noah in a sleek London flat, and, in the other life, sings in smoky jazz clubs and shares an artist's loft with Diego and his children – asking which life, and which man, can give her the love she wants. Reviews were mixed. Admirers found Emilia Clarke engaging and easy to invest in, with distinct chemistry opposite each co-star, and Jack Farthing unexpectedly disarming in a role that could have been a cipher; the two timelines are given distinct looks, warmed by Marianne Bakke's photography and Dan Romer's score. Detractors noted that the device is familiar from Sliding Doors, played here with less lightness, and that Doremus tilts the scales so obviously towards one life that Ivy's dilemma carries little weight, with Édgar Ramírez oddly reserved and the film running long. Earnest and soulful, if short of Doremus's best work on Like Crazy.