Mia Hansen-Løve’s L’Avenir/Things to Come (FR, 2016) depicts a woman’s life at a time of crisis. In so doing, the film subtly but insistently shows Nathalie’s life to be caught up in a wider set of forces and relations, revealing the implication of individual and intimate experience in a socio-political collective sphere. Drawing on Lauren Berlant’s concept of “the impasse”, this essay explores how a filmic depiction of personal unraveling might productively question the prevailing and conflicting modes of futurity experienced in everyday neoliberalism: projects and progress on the one hand, stasis and catastrophe on the other. Things to Come provides a delicate and powerful example of how ordinary filmic production of time, space and affect can offer ways of perceiving and feeling the impasse as a situation within which resistant forms of movement and collective resonance, beyond the isolation of individual subjectivity, might be possible.