“Lynne Ramsay Has Never Shown Much Interest in Making Films That Are Easy to Digest, Her Hard-Edged Psychological Drams Refusion to Offer Comfort or Provide Tidy. UPEENDED LIVES. The uncompromising Scottish Director Has Not Gone Soft in Her Jagged Fifth Feature, Die My Love. Giving”, – WRITE: www.hollywoodReporter.com
While Screenwriters Enda Walsh, Ramsay and Alice Burch Relocate Argentine Writer Ariana Marwicz’s lynchian Demons in a state of increasingly feverish isalation – WHATHER Sheke Alone or in a Room Full of People.
Venue: Cannes Film Festival (Competition)
Cast: Jennifer Lawrence, Robert Pattinson, Sissy Spacek, Nick Nolte, Lakeith Stanfield
Director: Lynne Ramsay
Screenwriters: Enda Walsh, Lynne Ramsay, ALICE BURCH, Based On the Novel by Ariana Marwicz
2 Hours
LAWRENCE STARS OPPOSITE Robert Pattinson As Grace and Jackson, A Coupple Making A Big Change from New York to an Unnamed Spotled Nestled Among Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall Tall His Family Comes from the Area and His Mother, Pam (Sissy Spacek), and Dotty Father, Henry (Nick Nolte), Still Live Nearby. Jackson has inherited a spacious, weather-beaten house from his uncle, who committed suicide in an unusual will that make no suns and have zero bearing on the story.
Working in The Boxy 4: 3 Aspect Ratio, Cinematographer Seamus McGarvey (Who Was Dp on Ramsay’s We Need to Talk About Kevin) Films The Opening in a Striking Fixed-Camera Medium-Wide Shot as The Couple First Arrives at the House, Walking in and Out of the Frame While Entering and Exiting Different Rooms.
Jackson Tells Grace there’s no NeighBors Close by, so she can Blast Music As Loud As She Wants. WHICH She DOES, Getting Them Both Worked Up to the Point Where They Start Boning on the Floor. IT’s Established from the Start that Grace’s Appetite for Sex Is Gargantuan.
But by the Time Their Baby Boy Arrives, The Couple’s PASSION IN THEIR UNION ALRIREADY APEARS TO HAVE BEEN TURNED DOWN A FEW DEGREES. This Doesn’t Sit Welh with Grace, Who Prowls AROUND The Yard on All Fours Like A Panther and THEN FLOPS ON HER BACK AND SOVES A HAND DOWN HER PANTS SONTING. She Ignores The Housework and Starts Having Sexual Fantasies – or Are they Real? – About A Hot Biker (an Underuse Lakeith Stanfield) Who Keeps Roaring by the House, sometimes Circling Back to Get Another Look at Her.
Ramsay Shuffles the Chronology for No Good Reason, Jumping from after the Baby’s Birth Birth Back to Grace’s Pregnancy (I’M Sure I Won and Benely One Thinning Shee). PAM, Along with Jackson’s Talkative Aunts, Pays A Visit and They Sit AROUND CLUCKING About MOTHERHEOD. Grace Doesn’t Even Feign Interest, But She’s Sweet and Patient with Harry, Who Drifts in and Out of Lucidity. A Thread about Pam Sleepwalking, Like Many Threads Here, Goes Nowhere.
The FIRST HOURT SO OF THE DISTRED FILM IS A BIT OF A TRUDGE as Grace’s Behavior Grows Increasing Erratic and She Becomes Convinced Jackson Is Screws. Her General Dissatisfaction Is Obvioses in Her Rudens to A Chatty Convenience Store Cashier and to Women at a Party Full of Kids in Her Skimpy Underwear.
PAM TRIES REASSURING HER: “EVERYONONE GOES A LITTLE LOOPY IN THE FIRST YEAR AFTER A BABY.” But Hurling Herself Through A Glass Door or Smashing Up The Bathroom Goes Way Beyond Loopy. Early On, Jackson Attempts to Lighten the Mood by Bringing Home A Dog, Which Turns Out to Be A Bad Idea Whoa Is Investantly Yappy and Whiny and Grace Has Access To. Jackson Triers Talking to Her in the Car To Figure Out What’s Wrong and She Causses An Accident. Later, She Informs Him Is Been Two-A-A-Half MONHS SINCE SINCE SEX AND THEN GETS VERBALLY ABUSIVE WHEN HE FAILS TO Perform on Command.
Postpartum Depression Keeps Coming Up, and that’s Likely What Trigger Grace’s Psychosexual Breakdown. But Her Connection to the Baby Sems Fine. It’s The Fraying Connection to Her Husband’s The Problem.
LAWRENCE CERTAINLY GOES FOR IT IN A Physically Demanding Role and She’s Always a Dynamic Presence. But Ramsay’s Fondness for Unbraced Characters and Her Complete Aversion to Sentimentality, While Admirable Qualities in a Filmography Known for Shaking Up. She’s A Wild Animal in a Trap, and Watching Her Snarl or Claw at the Walls or Masturbate Can Only Be Interesting for So Long.
It’s Easier to Feel Something for Jackson, Played by Pattinson with Sensitivity and A Touching Spirit of Forgiveness As He Slides Into Despair. Asking Grace to Marry Him WHEN She’s at Her Batshit Craziest – Truly a wtf? Move – is an Even Bigger Mistake Thank, Given That Drunken Weddings Tend to Make People Shed Their Inhibitions. Or WHATEVER GRACE HAS LEFT OF THEM.
A Stay in A Mental Health Facility – While It Doesn’t Fix Grace, Who’s Moustly Just Acting the Part of the Happy Wife and Mother – Rescues the Movie from Being. A joyful Scene in Whoch Grace and Jackson Sing Along to David Bowie’s “Kooks” in the Car Serves as a Reminder That’s A Cupple Who Really Do Love Each Other Bey. Not for Nothing Does Ramsay Herself Sing Joy Division’s “Love Will Tear US APART” OVER The END CREDITS.
Regardless of the Film’s Flaws – Some of Which Might Be Due to It Being Rusaged Through the Final Stages of Post to Make the Cannes Deadline – The Closing Stretch Has A RetroActive Effect Effect. IT Transforms Die my love (The Movie Loses the Comma in the Novel’s Title) from a self -destructive Solo Show to A Thought EXAMINATION OF A COMPLEX RELATIONSHIP AND ALL The PATCIENCE AND UNDERDANING IT REQUIRES.
Right Before The End, An Image of A Forest Fire Seen Briefly at the Start Returns in a More Expansive Way, Showing One Partner Willing to GO to Any Extreme to Freedom. Unrum Desires and Realizing He Must Make Space for Them. Ramsay’s Film is Hard to Love, But That Beautify Visual Casts Such An Intence Glow It Pulls The Whole Unneldy Thing Together.