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Die My Love (2025)

Die My Love is the latest offering from the incredible Lynne Ramsay. Coming almost a decade after her previous film, You Were Never Really Here, Die My Love follows doomed lovers, Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) as they navigate parenthood in their new home. The film blurs the line between reality and the darkness that Grace begins to experience as she struggles with the pressures of being a new mother.

What makes Lynne Ramsay an excellent director is the fearlessness in her approach. Her films utilise morally ambiguous protagonists in a bid to discuss a larger and more universal topic which in Die My Love is postnatal depression and the pressures placed on mothers. As ever, the direction is striking as Ramsay uses the house as a metaphor for Grace’s state of mind. The opening scenes show the house empty but filled with potential and excitement as Grace and Jackson dance and goof around. Soon enough following the birth of their baby, the house becomes cluttered and dark to the point where it is completely unrecognisable. We see her try to keep herself under control while using the neighbouring woods as an outlet for her animalistic movements. However, the scene where Grace loses control and suffers a breakdown in the bathroom is extremely harrowing as she does significant damage to herself and the home in such a tiny enclosed space.

Jennifer Lawrence is electric in her turn as Grace, giving a phenomenal performance that is reminiscent of mother! in its darkness and grit. Lawrence is in a new phase of her career with complete control over her roles while also adding producer to her resume. If mother! showed a woman struggling to maintain order in a world that actively works against her then Die My Love is the result of that woman endlessly fighting against the judgement of those around her. This performance feels personal and has a rawness that only works thanks to Lawrence throwing herself into the role with everything she’s got. Grace is a character that pushes Lawrence beyond any other performance she has done and while there are some great physical moments that showcase Lawrence’s range, the scenes where she is able to convey her struggles subtly are the most heartbreaking. The scene where Grace and Jackson go to a friend’s house and Grace feels judged by the other mums. There is a fire and sorrow in her eyes that is so poignant that you feel her mind spiraling as she is triggered.

Robert Pattinson has such an eccentric filmography and that shows no sign of stopping any time soon. While the film is undeniably Lawrence’s, he still holds his own as Jackson. Grace’s struggles are front and centre to the film, but in the background we have Jackson who is grieving the recent loss of his father while also adjusting to his new role as father to his son and the pressures of being the sole moneymaker in the household. His attempts to make life better and more “normal” such as buying a dog may seem well-intended but in not warning Grace and refusing to help with the dog’s training, the sentiment doesn’t translate. In trying to create a façade of a nuclear American family, Jackson forces Grace to adhere to stereotypical traditional tropes, which is something that no woman can truly meet in this day and age.

Sissy Spacek rejects the bitchy mother-in-law tropes too frequently seen. Her performance as Jackson’s mother, Pam, is small but mighty, serving as an ally for Grace. Where other filmmakers would craft a character that is “out to get” Grace, Pam is understanding and concerned. She understands firsthand what Grace is going through in a way Jackson can’t because she too has suffered from the same pressures of motherhood. There’s a melancholy in Spacek’s performance as she is unable to stop Grace’s suffering, even when giving her the knowledge from hindsight.

Seamus McGarvey’s cinematography plays a big part in encapsulating Grace’s slip from reality as her depression and hopelessness builds. McGarvey uses open spaces to highlight the terror in the unknown. The most heartbreaking moments in the film come when the camera lingers on Grace’s face a little too long where we begin to feel her discomfort and misplacement. There is also a powerlessness as the camera sits almost at a distance like an observer, unable to intervene and make things better. This adds to the frustration that the characters feel as they succumb to their struggles.

While Die My Love is not an easy watch in any way, it’s unflinching look into postnatal depression and the realities of motherhood will undoubtedly leave its mark on you. Lawrence delivers a career-best performance that feels raw and fearless, making Grace not only a fully-rounded character, but one of the most “human” characters put to screen. Hopefully we won’t have to wait another decade for Ramsay’s next film because her strength to explore these issues in such an artistic and complex way creates some of the best characters we have seen in cinema.

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The Batman (2022)

THE BATMAN, Robert Pattinson as Batman, 2022. ph: Jonathan Olley / © Warner Bros. / Courtesy Everett Collection

In recent years, we have seen many franchises emerge with plenty of reboots, prequels and sequels dominating the film industry. A lot of these films tend to provide plenty of nostalgia and familiarity that is enjoyable to watch, but offers nothing new. One such franchise that is reinvented time and time again is DC’s Batman. Following Christopher Nolan’s Dark Knight Trilogy, it felt as though the franchise couldn’t get more gritty and dark, but Matt Reeves proves it can be done with this year’s The Batman. The film is filled with characters that we all know and love including the titular character himself (Robert Pattinson), Catwoman (Zoë Kravitz), and Detective Gordon (Jeffrey Wright) to name a few. Rather than fill the film with the usual villains such as the Joker, Reeves has chosen villains who have been overlooked or not as widely used cinematically with the Riddler (Paul Dano) and the Penguin (Colin Farrell) being the major villains in the film. Unlike other Batman adaptations, this Batman is not as refined in his fighting skills, making him more realistic, while also finding out more about what his parents were really like and the mystery surrounding their untimely death.

The Batman is directed by Matt Reeves who cowrote the screenplay with Peter Craig. Reeves development as a true visionary feels as though it has come full circle since he became a household name in 2008 with Cloverfield. Just as Cloverfield pushed narrative boundaries and explored alternative filming techniques, Reeves applies this innovative way of thinking with The Batman. From the telescopic point of view that opens the film, to the brilliantly shot climactic scene in which Batman beats up a load of cronies in a dark hallway with the only lighting provided by gunfire, Reeves brings an element of true imagination to a studio blockbuster and shows that not all superhero films need to contain a formulaic structure and content. The screenplay is particularly brilliant and perfectly delves into Bruce’s character without feeling too over the top, while also having plenty of fun with the Riddler’s character and his clues.

Robert Pattinson proves himself more than capable of taking on the Caped Crusader and can simply be explained as a perfect mix between Michael Keaton’s and Christian Bale’s performances. The film has more interest and focus in seeing the character as Batman rather than Bruce Wayne, which serves the narrative brilliantly. Pattinson’s Batman is unlike others because his fighting skills aren’t perfect and there are moments when he is getting beaten up by thugs. The Batman is a much more violent take on the character, but one that feels more realistic and less like a regular superhero film as it feels as though Batman is just a man wearing a suit who can fight. Pattinson’s Bruce is moody and isolated from the world, despite living in the centre of the city, while his Batman is relentless and will do anything to get to the bottom of the situation. The scene in which Batman confronts the Riddler in Arkham State Hospital is the best in the film as it shows the character break face as he tries to figure out what the villain has planned.

Playing opposite Pattinson is Zoë Kravitz as Catwoman in a turn that feels revolutionary for a character that has been overtly sexualised over the years. Kravitz’s Catwoman is unapologetic in her actions and isn’t afraid to stand up for what she believes in, even if it isn’t necessarily the morally right thing. From the moment that Kravitz steps onto the screen, the audience is immediately drawn to her. What is amazing about Kravitz’s performance is how well she develops Selina’s character throughout the film, so her turn never gets boring or loses steam. Not only does she have great chemistry with Pattinson which makes the film gripping to watch in its entirety, but Kravitz’s Catwoman is incredibly strong and capable of asserting her own agency without the need for male assistance or approval, which feels revolutionary and authentic in how it is portrayed onscreen.

The main antagonist in the film is the Riddler, who is played phenomenally by the always fantastic, Paul Dano. In a career that has shown gigantic range, Dano appears to be getting the recognition that he has long deserved from mainstream audiences thanks to his menacing Riddler. It’s an unpredictable performance that shows the same level of dedication and characterisation that he brings to films such as There Will Be Blood and Prisoners. Even when he is not onscreen, his presence is felt through the entire film in the game of cat and mouse thanks to his ability to be a perfect match for Pattinson’s Batman. Dano may not be obvious choice for a superhero villain, but he’s proven that he is more than capable of performing exceptionally well in any genre.

In a film full of brilliant performances it’s difficult to choose which one was best of all, but in this instance, it has to go to Colin Farrell who is completely unrecognisable as the Penguin, a sleezy mobster who helps Carmine Falcone (John Turturro) run Gotham’s crime scene. Although he only has a small role in the film, Farrell is absolutely magnetic and steals every scene he is in. The chase scene between him and Batman is brilliantly executed and highly intense. Farrell has been knocking it out of the park for years and proven that he is a flawless character actor who is able to fully immerse himself into each character he plays. His Penguin doesn’t feel like a caricature, although there are some funny moments, and it’s exciting to see if he will star in the sequel.

The score is composed by Michael Giacchino, who has brought us a slew of iconic soundtracks over the years spanning across various genres including family films such as Ratatouille and Up as well as blockbusters such as Jurassic World and Rogue One: A Star Wars Story. It only makes sense that someone like Giacchino fits the bill considering his resume, and he delivers his best score in years. The main character theme consists of four hard-hitting notes that have become immediately identifiable. The opening track “Can’t Fight City Halloween” is riveting and atmospheric, instantly transporting the audience into the grime and horror of Gotham City.

The Batman delivers brilliance from start to end thanks to its gritty aesthetic, innovative filming techniques, and incredible characterisation filled with great performances from both the heroes and the villains. Pattinson’s career has gone from strength to strength and with The Batman, he is able to translate his indie successes to a huge blockbuster. Reeves has done a great job of setting up this particular Batman universe, and with the hint of a new villain (probably the Joker) incorporated into the film’s narrative, it’s only a matter of time before we see a sequel to The Batman.

What did you think of The Batman? Let me know in the comments below!

The Batman is available to view in cinemas now!

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Robert Eggers: Double Feature

In my series where I look at the emerging directors this century, it was only matter of time before I discuss the work of horror director Robert Eggers. Usually associated with his A24 cohort Ari Aster, Eggers’ two films are psychological studies of its characters with a darker colour palette than Aster’s work. His 2015 debut The VVitch was an instant success and a major talking point among the film community on release. There hadn’t been a film quite like it and it’s unapologetic take on the breakdown of a family. His 2019 film The Lighthouse couldn’t be more different. Whereas The VVitch was full of female empowerment and the emergence of a strong young woman finding her place in the world, The Lighthouse is heavily masculine and becomes a double character study rather than the spotlight being on a single character. The overall style of Eggers’ films is a perfect mix of gritty realism with a hint of fantasy and magic. Despite the unrealistic elements, the films are definitely grounded in their realism and the audience reaction is unaffected.

Both of his films were distributed by A24 and are currently discussed alongside Ari Aster’s films Hereditary and Midsommar as they are A24 and horror as well but Aster and Eggers have completely different angles. If anything, each film is a great example of how horror has becoming the best genre to look at current topical issues. I have written on Aster which can be read here and recommend watching his films but here are my mini reviews for Robert Eggers’ films The VVitch and The Lighthouse.

The VVitch (2015)

Eggers’ debut was talked about a lot on release because of its unrelenting dismantling of the family home. Following Thomasin (Anya Taylor-Joy), a young girl on the verge of womanhood struggling with her place in the family home after they are banished to fend for themselves after rejecting a Puritan colony. The family are then convinced there is a witch causing mayhem and won’t stop until the entire unit is killed. Starting with the baffling disappearance of her baby brother, Samuel after playing peekaboo with him, Eggers isn’t afraid of tackling taboos that even classical horrors don’t dare venture. Critics were more favourable towards the film whereas audiences weren’t as convinced although it was still a success at the box office. I think that because it was marketed as a straightforward horror, audiences weren’t expecting the many layers that this film has. It is more about Thomasin’s characterisation than the gruesome death scenes or jump scares. Taylor-Joy is nothing short than spectacular as Thomasin and brings that juxtaposition between childlike innocence and the more adult curiousity. She feeds into the fear to her twin brother and sister innocently at the beginning but then the more sinister intentions underlying the film begin to creep out. It’s definitely a horror film for the 21st century and helped to pave the way for more horrors that have intricate character studies. The VVitch could be viewed as a film exploring female empowerment and rejecting the traditional patriarchal society.

The Lighthouse (2019)

One of the most anticipated films of 2019, The Lighthouse stars Robert Pattinson and Willem Dafoe as warring lighthouse keepers, Winslow and Wake, respectively, who are stranded on an island during the storm. It’s not a horror in the traditional sense but the rising tension and characters’ waning sanity are the perfect combination to making one of the best horrors in recent years. Pattinson and Dafoe are pretty much the only characters for the majority of the film with Valeriia Karaman making an appearance as the Mermaid who seduces Winslow. The Lighthouse is a film unlike any other nevermind a horror film unlike any other. FIlmed in black and white 1.19:1 aspect ratio, the film is reminiscent of a claustrophobic vintage horror, reflective of the era it is trying to portray. Loosely based on the short story “The Light-House” by Edgar Allen-Poe, Eggers and his brother Max Eggers worked the script to a late 19th century setting and wanted to keep the focus on the deterioation of its male protagonists. I have written a more in-depth review of The Lighthouse which can be read here. Every aspect of this film is perfect from the casting to the writing to the set design. It was nominated for one Academy Award for Best Cinematography which was very well-deserved but I really feel that it should have been nominated for more, especially Willem Dafoe for Best Supporting Actor. Dafoe consistently brings his A game and the fact that The Lighthouse is among his best says a lot.

Eggers is currently working on his upcoming project The Northman which will star mega stars like Nicole Kidman and Alexander Skarsgard as well as reuniting the director with Anya Taylor-Joy and Willem Dafoe so needless to say there are high expectations. From what I can tell, this new film will be the first Eggers film not to be distributed by A24 as 20th Century Studios have locked it in which shows the faith the big budget studios have in him. Hopefully the studio will give him the freedom to follow his vision through like A24 do. There is no doubt that Eggers has a hugely exciting future ahead of him in the film industry and it will be interested to see what else he comes up with.

Which Robert Eggers is your favourite? Let me know in the comments below!

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The Lighthouse (2019)

Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.

Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.

Williem Dafoe and Robert Pattinson in director Robert Eggers THE LIGHTHOUSE.

Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.

The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.

lighthouse2

I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.

What did you think of The Lighthouse? Let me know in the comments below!

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High Life (2018)

As part of an initiative to bring lesser-known films to Wrexham, 73 Cinema aim to show a variety of films that would otherwise have required a trip to bigger cities to view. Based in Ty Pawb, the second chosen feature was High Life (2018), Claire Denis’ first English-language project starring Robert Pattinson in the lead role as a death row inmate who is sent to space with other inmates in order to conduct experiments for those on Earth. Their major mission is to venture to the far ends of the Solar system and the minor mission is to attempt reproduction in space. Denis is a filmmaker who refuses to follow the rules and the brilliant use of non-linear structure reflects this. The film opens with remaining survivor, Monte (Pattinson) repairing the ship as his baby daughter, Willow, cries hysterically, causing him to lose a piece of equipment. There are moments of deep isolation in Monte’s eyes that are soon swept away when Willow starts to laugh and play. Willow becomes his driving force to survive.

Denis’ direction is outstanding and the film is beautifully still. The use of one major primary location is genius because it allows us to feel the claustrophobia. What is brilliant is how small the ship looks from the outside but it seems so big inside with each segment of the ship looking as though it is in an entirely different space. It’s difficult to believe that the same ship contains the garden that grows their food also contains the aptly-named “Fuck Box”, a room where the passengers go to obsessively masturbate. Monte is the only passenger who avoids the room, choosing to lead a celibate life and making him appear alien to the others. Pattinson knocks it out of the park with his performance. Monte is quiet and subdued, allowing the action of the film to be carried out by the more extroverted characters but he is also the most resilient of the bunch. Despite his crime, he has a strong moral compass and doesn’t lend himself to the violence easily. Pattinson carries this film and his performance as Monte appears natural. It’s a role that he was born to play.

The supporting cast are also strong with stellar performances from Juliette Binoche as the sinister Dibs, the ship doctor who is determined to complete the reproduction mission for her moment of glory and Mia Goth as troubled passenger, Boyse who is reluctant to participate in the experiment. Dibs is a character who can never be trusted and her presence onscreen immediately brings unease. She is unapologetic for her actions and what she does to Monte and Boyse is hugely upsetting and she shows no remorse. She is aware of her crimes and the monster she is but chooses not to linger on it with the exception of an emotional scene between her and Boyse in which she confronts her crime. It’s a moment in which Dibs becomes human and seems equal to the others. On the other hand, Goth is an actress who has shown much promise and fearlessness in her film choices since her debut in Lars von Trier’s sex-fuelled Nymphomaniac (2013). Her performance as Boyse shows a clear growth from her earlier work and I predict that she will have a long career. The scene in which she escapes in a ship to enter a blackhole is deeply disturbing and makes for one of the craziest death scenes I have ever seen in film.

High-Life-5

As ever, the screenplay is what I pay attention to the most and the film has so many qualities that I admire. Written by Denis and Jean-Pol Fargeau, the film could be described as a sci-fi horror set in space and yet is one of the most human features I have seen. It’s a claustrophobic study of human nature and the strength to survive in unknown conditions. As discussed, it is hugely intense and the script relies heavily on the actions rather than the dialogue. A lot of the time, the physicality and expressions of the character take us through a scene rather than what they are actually saying. Like the mission, the script also takes us into the unknown with twists and turns at every scene and motives change or emerge. There are only a couple of scenes based in Earth to give us a contextual glimpse into the background of the mission and the ship is used a primary location.

It is important to note that High Life is not a film for everybody. It doesn’t hold back in its grittiness with excessive violence, explicit rape scenes and suicide but it’s also a film that creates an intricate study into the human mind when thrust into impossible situations, demonstrating just how far people will go to ensure their legacy. Even in the vacuum of the universe, there is an obsession throughout the film with the idea of legacy and being heroes but in the end, it doesn’t matter. It is Monte’s refusal to engage with such ideals that has meant he is the last survivor. The final scenes between him and teenage Willow (Jessie Ross) bring the film to its hopeful conclusion as they venture into a black hole.

What did you think of High Life? Let me know in the comments below!