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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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London Film Festival 2021: The Power of the Dog

It’s no secret that the COVID-19 pandemic saw the delay of many films which has resulted in a huge amount of quality films being released this year. One such film to suffer from pandemic delays is Jane Campion’s The Power of the Dog which is her first feature film in 12 years since 2009’s Bright Star. Based on the novel of the same name by Thomas Savage, The Power of the Dog follows the lives of two brothers, Phil Burbank (Benedict Cumberbatch) and George Burbank (Jesse Plemons) who own a family ranch and how their lives change when George falls in love with – and quickly marries – Rose (Kirsten Dunst), a widow whose former husband died of suicide. In true Campion style, the film provides deep characterisation, stunning scenery, and a script that is so beautifully written and paced that you feel completely immersed in the film and its time period.

Written and directed by Jane Campion, The Power of the Dog has proven to be a huge hit at festivals and it’s easy to see why. The film feels authentically Western in its slow pacing with her writing and directing giving the film plenty of chance to breathe. The way Campion utilises natural light in her film brings a rawness that allows the landscape to show off its natural beauty without using any filters or techniques. Equally, Campion’s ability to make the audience feel claustrophobic in the open space is so clever such as the scene when Phil and Peter are on their travels through the hills. What is so wonderful about Campion’s filmmaking is that she has such an intricate knowledge of space and how to make use of the space. In one scene, we see George and Rose driving back to the ranch after dropping Peter off at school and they are surrounded by rolling hills which seems to go on for miles; however, what was once an open space is gradually zoomed into George and Rose as they try to dance and it suddenly feels as though the space has become much smaller. Unsurprisingly, the film has brought Campion much acclaim for her directing and she even won the Silver Bear at this year’s Venice Film Festival.

Leading the film is Benedict Cumberbatch as Phil Burbank in what is arguably his best performance to date. To say that Phil is a deeply complex character is an understatement. He is a character plagued by his past as he constantly refers to his late mentor – and lover – Bronco Henry, who has since passed away. The result of which is a character that internalises who he is and replaces it with toxic masculinity, feigning power and confidence through brutality and strength. Phil’s leadership and charisma is hard to miss as he makes his presence known no matter where he is. Cumberbatch is captivating in a role that may seem mismatched at first but his dedication and relentlessness allows us to him in an entirely new light. He has become a firm favourite for the Best Actor awards this coming awards season and it is easy to see why. Even if he doesn’t win, he will definitely earn nominations in what is a performance of a lifetime.

Playing Phil’s brother, George, is Jesse Plemons and the two characters couldn’t be more different. Where Phil is overly observant to a fault, George is oblivious although his heart is in the right place. Unable to see his wife suffering or catering to her needs, George tries to force her into a societal position that she doesn’t feel comfortable with. This isn’t out of malice or bullying but because he does what he believes is expected of him. Plemons is always great no matter what role he does and it’s a treat to see him in a bigger role. The scene where George confronts Phil about the latter’s treatment of Rose is ridiculously intense and this is because Plemons and Cumberbatch manage to bring an authenticity to their roles that feels genuine and brotherly. Kirsten Dunst plays Rose, a woman who recently lost her husband to suicide and is struggling to run the family restaurant. She marries George shortly after meeting him but soon finds that her brother-in-law, Phil, does not approve of their marriage, believing her to be a gold digger. Dunst is one of a few women in the film but her presence is duly noted and she commands each scene she is in, especially as her character delves into alcoholism. The lack of female roles is completely on purpose as the film is showing what happens when an environment is dominated by men and, specifically, toxic masculinity. Rose’s background is completely different to Phil’s entirely and it is these differences that cause friction between them. The scene in which Rose practices on the piano and eventually finds herself in competition with Phil’s banjo playing is somehow terrifying and comedic at the same time. Dunst’s performance in this scene is brilliant as we feel the fear in the character and her emotional struggle as she cannot finish her piece.

Another performance in this film that has been receiving a lot of attention is Kodi Smit-McPhee’s turn as Rose’s son, Peter. The first time we see Peter, he is delicately cutting pieces of paper which are then shaped to make paper flowers which he then takes to his father’s grave. From his sensitive nature to his crisp and neat appearance, it is clear that there is something that sets Peter apart from the other men in the area. This is pointed out during his first encounter with Phil and the rest of the ranchers as Phil makes fun of Peter’s flowers and the way he dresses and carries himself. Assuming that he is homosexual, Phil and the other men hurl homophobic insults at Peter wherever he goes and bully him relentlessly; however, Peter appears indifferent to their insults and carries on with his research to become a medical doctor. Smit-McPhee’s performance is the perfect opposition to Phil. Where Cumberbatch’s performance is loud and commanding, Smit-McPhee’s is much quiet and subtle while still grabbing the audience’s attention. The climactic scene between Phil and Peter in the barn is incredibly intense and has the audience at the edge of their seat and this is due to Cumberbatch and Smit-McPhee’s flawless chemistry.

One of the many highlights in this film is the beautiful score which is composed by Johnny Greenwood. What makes Greenwood one of the best composers working today is the huge range of films that he has worked on. Whether it is a period drama such as The Master or a thriller such as You Were Never Really Here, Greenwood always knocks it out off the park. He has delved into the Western genre before with his game-changing score for There Will Be Blood and yet somehow, he manages to create a completely new and different sound for the music in this film. Featuring hints of Western and thriller, Greenwood integrates his signature sounds with atmospheric tones that work seamlessly with the film. The music never overwhelms the film itself and yet manages to stand out and elevate the mood of the scene. Hopefully we will see Greenwood receive another Academy Award nomination for his work and maybe even a win.

The Power of the Dog was a film worth waiting for and more. Hopefully, it will see a lot of recognition come awards season thanks to the breath-taking direction, stellar script and impeccable performances, especially by Cumberbatch. Campion has come back with a bang and here’s hoping she doesn’t wait as long before making her next feature.

The Power of the Dog is showing at this year’s London Film Festival!

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You Were Never Really Here (2017)

Lynne Ramsay’s You Were Never Really Here follows hitman Joe who specialises in retrieving young girls from the clutches of underground paedophiles and trafficking. He is tasked by a New York senator to retrieve his daughter, Nina (Ekaterina Samsonov), who has been kidnapped and to eliminate those who took her by the most violent means possible. The film premiered in the main competition at Cannes FIlm Festival in 2017 where it became one of the most widely discussed films and won two awards for Best Screenplay for Ramsay and Best Actor for Phoenix. It’s rare to see a film win more than one award at Cannes so the hype for the film was huge. From the offset, the film doesn’t hold back in its themes and violence.

The direction is executed with a cat and mouse feel. The camera trailing through Joe’s eyes as he hunts for the perpetrators and their accomplices. What Ramsay does so well is being able to use the protagonist’s perspective as the audience’s entry into the film. Even in scenes when Joe is doing menial tasks like cleaning or singing with his elderly mother, we get a glimpse into the two different lives he has. Ramsay’s screenplay is incredible and tight, managing to create a fully realised character in its 90 minute runtime. The screenplay is written around the character of Joe and the outside context such as politics is only touched on lightly when introduced to joe in an organic way. Despite using multiple locations, the film still has that claustophobic tone throughout. Like previous films by Ramsay, the film heavily relies on its imagery rather than dialogue to tell the story. This works particularly well for You Were Never Really Here as a lot of the scenes only contain Joe and so scenes filled with dialogue would result in an unnatural and jarring experience. 

Phoenix’s performance as anticipated is more than deserving of the praise received. Joe is unapologetically violent, trauamtised from childhood and yet he displays affection, especially towards his mother and Nina. Joe’s troubled state of mind is displayed from the beginning as we see him self-suffocating with a plastic bag in order to cope with the flashbacks and trauma in his life. Throughout the film, Ramsay gives us brief glimpses into Joe’s backstory but doesn’t overdo it in a way that the film is anchored down by it. Phoenix’s performance is subtly expressive and he allows himself to go to a place that is uncomfortable and disconcerting, resulting in a character that is highly unpredictable and yet so commanding of the audience’s attention. In my previous post where I discuss my top 5 performances by Phoenix (which you can read here), I have included You Were Never Really Here because I think it is one of the prime examples where the actor truly emcompasses everything about the character.For the score, Ramsay recruits Jonny Greenwood for the second time after her 2011 film We Need to Talk About Kevin. Like Joe’s character, the score flits between intense pieces with a strong and consistent beat which are usually played when he is on the job and more natural and flowing pieces which provide a backing track for scenes with Nina and his mother. The track, “Tree Strings”, which is played as Joe buries his mother is such a poignant moment and the music elevates the scene by assisting in his ephiphany to rescue Nina from her kidnappers. Greenwood is more widely known for his collaborations with Paul Thomas Anderson but his scores for both We Need to Talk About Kevin and You Were Never Really Here assist in elevating and excuting Ramsay’s vision to perfection.

Ramsay is one of the best female directors working in the industry today. She consistently brings out performances that are career-defining such as Phoenix in You Were Never Really Here and Tilda Swinton in We Need to Talk About Kevin. She has a clear vision and isn’t afraid to delve into any topic, particularly those centred around children. The ending to You Were Never Really Here isn’t the all-rounded happy ending you would want from a film that explores child sex trafficking, but Ramsay’s choice to give it the ending that it does have highlights the reality that these children face. Ramsay’s ability to write strong characters is in another league. Her characters aren’t particularly likeable but that doesn’t matter. The characters are the driving force of the film and the fact that they aren’t completely relatable or likeable only serves to add another layer of depth. I think because of this that this makes You Were Never Really Here an outstanding inclusion in Ramsay’s filmography and why it was so successful upon release.

What do you think of You Were Never Really Here? Let me know in the comments below!

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!