A kiss often signifies a love story. The latest film “We Live in Time” could have benefited from keeping the mantra K.I.S.S. in mind: Keep it simple, stupid.

Florence Pugh and Andrew Garfield deliver captivating performances as a British couple facing both personal and professional hurdles, including a cancer diagnosis. However, this romantic drama (★★½ out of four; rated R; showing in New York and LA now, and nationwide starting Friday) employs a complex narrative structure that detracts from its potential to be a truly moving experience.

Directed by John Crowley, known for both the remarkable “Brooklyn” and the uninspiring “The Goldfinch,” “We Live in Time” shifts between three distinct moments in the couple’s journey.

The film begins with the early years of their relationship, featuring rising-star chef Almut (Pugh) and Weetabix marketing professional Tobias (Garfield). Their unconventional meeting occurs when Almut accidentally hits him with her car as he retrieves a pen to finalize his divorce paperwork. This initial phase intertwines with the day of their daughter’s birth, a chaotic experience, and a critical six-month period where Almut faces the difficult choice between a painful treatment for her ovarian cancer or maximizing her remaining time.

The film touches on familiar tropes, such as a cheesy carousel scene and some typical rom-com moments, like a frantic drive to the hospital as Almut nears delivery. One standout scene includes the couple unexpectedly giving birth in a gas station bathroom amidst a whirlwind of amusing and touching chaos. The emotional stakes resonate well, especially as Almut and Tobias confront decisions about children and marriage early on and face significant medical crises later.

“It’s We Live in Time” offers a refreshing twist on outdated stereotypes, showcasing a modern couple where the woman is the ambitious career-driven partner while the man acts as the supportive figure. However, the film prioritizes Almut’s story so heavily—she even has a background as a former competitive figure skater—that Tobias lacks sufficient character development.

While Almut has a fascinating career and much of the plot revolves around her sacrifices for a prestigious cooking competition, Tobias is depicted mainly as a caring father and partner, with his aspirations beyond marriage largely unexplored. Garfield effectively brings a charmingly nerdy and sincere quality to Tobias, while Pugh embodies Almut’s fiery spirit, adding depth to both characters along with their strengths and flaws.

However, the time-hopping narrative diminishes the emotional intensity typically associated with such stories. Crowley’s choice to avoid excessive melodrama and emotional manipulation is commendable, but this unconventional storytelling disrupts the natural emotional development of the characters. While classic tearjerker films like “Love Story” build naturally toward poignant emotional peaks, “We Live in Time” inadvertently prevents the cathartic release that audiences often seek in such narratives.

Sometimes, films like this are watched in the hope of inducing tears. With heartfelt intentions and talented actors at play, “We Live in Time” explores complex feelings yet complicates them unnecessarily.