The Killing Of Two Lovers – An Authentic Relationship Drama (Early Review)

Relationships are difficult and require a lot of effort to maintain. Movies like to use relationship strain as a premise because such strain provides an instant and obvious conflict, while also providing a lot of room for actors to use the words of the screenplay to elicit a myriad of emotions and reactions from viewers. In many such films, there are a lot of big and dramatic moments, usually in the form of arguments. Oscar clips and internet memes are made for this sort of thing (looking at you Marriage Story). The Killing Of Two Lovers by writer, director, producer, and editor Robert Machoian somewhat turns that notion on its head by maintaining a subdued tone and emotional distance for most of its runtime, while also keeping the tension at just enough of a palpable level as to enhance its narrative. In doing so, the film defies expectation to craft a very solid result.

The Killing Of Two Lovers follows David (Crawford) and his wife Niki (Moafi) who are currently on a trial separation while they try to figure out their marital issues. They got married right after high school, but, after many years and four children together, they discovered something wasn’t working between them. David is a devoted father to the kids, despite only seeing them at certain times. Additionally, because the couple has agreed that seeing other people during the separation is acceptable, Nikki starts a relationship with Derek (Coy), a man who works at the same law office. This wrinkle causes the oldest daughter Jesse (Avery Pizzuto) to lash out in anger that could be written off as the typical moods of a teenager, but is much more poignant when she eloquently explains her thoughts and feelings. But, as time passes, frustrations mount and tensions rise, leading to a near explosive conclusion.

Crawford is excellent in his role as David, particularly in scenes opposite Pizzuto’s Jesse. Moafi gets less to do as Niki, but her screen time is not wasted because she and Crawford’s discussions and fights are not presented with any kind over the top spectacle or much loud yelling. Instead, the more grounded nature of the dialogue feels more authentic and real to a couple who, while they may have issues, are still trying to work things out for the sake of their marriage and their children. Coy’s role as Derek is sort of on the outside looking in, but when he does finally step to the forefront, there is a lot of impact. The characters’ interactions combine together to ramp up the uncertainty simmering just beneath the surface.

While the narrative of The Killing Of Two Lovers builds the tension through dialogue and character actions, the technical aspects of the film aid in that endeavor. Cinematographer Oscar Ignacio Jiménez opted to use the 4:3 aspect ratio. In doing so, the viewer becomes trapped in the space with the characters. David’s agitation becomes eerily heavier. The kids’ desire to have a whole and complete family again makes us yearn for a happy ending. The stark bleakness of the small town setting adds to the isolation.

There are also multiple instances where the camera sits on the side of a moving truck with people inside the cab. This use of longer sequences allows the viewer to calmly observe the characters and be drawn into their world as their natural conversations illuminate their thoughts and feelings. On top of the camera work and editing, the film’s sound design really sharpens the anxiety. Sound designer Peter Albrechtsen uses what can only be described as mechanical noise that often sounds like the loading of a gun barrel or gears turning. These sounds are used in lieu of a traditional music score, striking at every fiber of the nervous system and yielding highly effective results.

The Killing Of Two Lovers saw all of its actors all deliver strong work, despite not being well known names. Meanwhile, Robert Machoian’s writing and editing combine with the camera work and sound to put the viewer on edge for the duration. Its use of minimalist naturalism allow the film to feel more rooted in reality and spark curiosity, making the viewer want to see what happens to the characters next. It’s a lowkey but thoughtful meditation on marriage, family, and the pain of people being around other people.

And it’s definitely worth seeing.

still courtesy of Sundance

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Guest Writer