Die My Love: Lynne Ramsey’s Bold Comeback (Early Review)

After 8 long years, writer-director Lynne Ramsey returns with Die My Love, her much-awaited follow-up to 2017’s incredible ‘You Were Never Really Here‘. In the time since the release of her last film, the industry has changed so much; evident by the acquisition and distribution of her latest film by Mubi, a streaming service and independent film distributor, the industry is now more than ever dominated by the streaming market, providing a unique avenue for distribution for filmmakers such as Ramsey, one whose work does not necessarily satisfy the desires of pop culture. That being said, her return comes at a time when a wholly singular female perspective is needed, and Die My Love presents exactly that. Although the film runs a touch too long and becomes repetitive come its second act, Ramsey’s much-anticipated return is largely a success and one that is sure to remind audiences of why she should be a household name.

Die My Love centers around Grace (Lawrence), as she descends into psychosis following the birth of her child. The film begins with fire in the forest, as a great sense of unease passes through audiences, before it cuts to the moment of conception of Grace and Jackson’s (Pattinson) child. The two are presented with youthful exuberance, love of music, and a primal energy that all but fades as soon as their child is born, and the two new parents have to raise a child in a troubled house. Ramsey’s film isolates audiences largely to Grace’s perspective, with the film further obscuring its structure as she dives deeper into postpartum depression. In doing so, much of the film hinges on Lawrence’s performance as Grace, relying on her to convey all these complex emotions and empathetic madness in tandem with its stark visual style. To its credit, Lawrence is at her best here, delivering the kind of performance that gives itself entirely to the director’s vision, resulting in a truly selfless performance. Her incendiary performance is amplified by a supporting cast highlighted by the likes of Sissy Spacek and Nick Nolte, each delivering incredible performances in their own right as Jackson’s parents, Pam and Harry. All in all, two of the most standout performances this year.

Shot on 35mm film and in a 4:3 Aspect Ratio, the cinematography of Die My Love serves as the film’s greatest attribute in conveying the sense of alienation and loneliness. Shots of Lawrence crawling through the tall grass towards her child, boxed into a 4:3 aspect ratio, trap the audience into the isolated perspective that it pushes forward. Additionally, the film features moments of visual abstraction, namely one that echoes some of Godard’s later career efforts. Similarly, its sound design further contributes to its effectiveness as an experience, primarily through its multiple sound motifs and immersive soundscape. Unfortunately, the audio experience is not without its flaws as it features a score/soundtrack that comes off as a little too on the nose, effective at times but troubling at others.

At the end of the day, Lynne Ramsey’s return to the screen is a welcome one, offering audiences an achievement in many ways, but in others, feels a bit too reminiscent of many showy arthouse efforts released as of late. Its core themes, although significant and well represented, feel a bit dragged out by the end of the experience. While the film is effective in its performances and technical prowess, it lacks in overall impact. When all is set and done, Die My Love is a film that simply falls short of being great.

still courtesy of MUBI

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Brad Simon

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