DIE MY LOVE (2025)

November 6, 2025

Greetings again from the darkness. For the sake of her friends, family, and self, I do hope Lynne Ramsay’s movies do not reflect her real-life persona. Don’t get me wrong … she’s an extraordinary filmmaker, but to put it mildly, her films are not what we would label ‘uplifting’. Proof of these two descriptions can be found in WE NEED TO TALK ABOUT KEVIN (2011) and YOU WERE NEVER REALLY HERE (2017), and now again in her latest. The 2017 English translated novel by Ariana Harwicz has been adapted by Ms. Ramsay, Enda Walsh (HUNGER, 2008) and Alice Birch (THE WONDER, 2022). It’s an absorbing film featuring what is likely the year’s best and most haunting performance.

When we first meet Grace (Oscar winner Jennifer Lawrence) and Jackson (Robert Pattinson), they are a wild and free couple who dance to the Pinky & Perky (not Alvin and the Chipmunks) version of “Let’s Twist Again.” Jackson has inherited a rundown house in rural Montana from his recently deceased uncle, and they fix up the place enough to move in. Sex and laughter fill their days right up until the baby is born. Postpartum depression has been conveyed in other movies, yet I don’t believe it’s ever been as visceral as what we witness here. Grace clearly loves her baby, while everything else about her own existence seems to anger and disappoint her … the house, the dog, and especially Jackson.

Grace sinks to a level we don’t often witness. It’s so painful and uncomfortable to watch, and Jennifer Lawrence is fearless in her portrayal of Grace’s downward spiral. Robert Pattinson plays Jackson as a normal guy who loves his wife, while having no clue how to handle the situation. Therein lies the power of this story. We could know Grace and Jackson, and we could be the folks at the party trying so hard to say the right things … those things that turn out to be the worst things to say. We could also be that spouse willing to give the other enough space to find themselves.

Thanks to superb cinematographer Seamus McGarvey, the film has a gritty 1970’s look and feel to it, and excellent (though limited) supporting work is provided by (Oscar winner) Sissy Spacek, rarely seen Nick Nolte, and the always interesting LaKeith Stanfield. The soundtrack is unusual and fascinating, including songs by such diverse artists as Elvis, Toni Basil, Cocteau Twins, Peggy Lipton, Nick Lowe, and Cream. As a bonus, the film features the best ever use of John Prine and Iris Dement singing “In Spite of Ourselves”, a perfect fit. Mental health issues and depression are serious topics, and have rarely (if ever) been more accurately portrayed than what we see in this latest from filmmaker Lynne Ramsay. Despite the brilliant filmmaking and memorable performance, it’s not an easy movie to recommend. It’s only for those who can appreciate the magic within the dark clouds.

Opening in theaters on November 7, 2025

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Posted by David Ferguson

THE END WE START FROM (2024)

February 6, 2024

Greetings again from the darkness. In light of the recent torrential storms in California, and other environmental occurrences, this film based on Megan Hunter’s 2017 novel proves quite timely. Mahalio Belo directs the screenplay adapted by Alice Birch (LADY MACBETH, 2016), and we witness just how quickly things can change … and perhaps equally important, we witness how people change in desperate times.

The remarkable Jodie Comer (“Killing Eve”, THE LAST DUEL) stars, and early on she’s pregnant in a bathtub as flash flooding hits the area of London where she lives. The heavy rain blends into childbirth with visual excellence from director Belo, cinematographer Suzie Lavelle, and editor Arttu Salmi. Fortunately, this does not turn into one of those heavy-CGI apocalyptic films, and instead stays grounded, and thanks to Comer’s superb talent, becomes a story focused on the strength inspired by motherhood. It’s a very human story derived from an environmental catastrophe.

Flooding reaches such proportions that the new mother and her husband (Joel Fry, YESTERDAY, 2019) are forced to pack up their newborn and evacuate their home, seeking refuge at his parents’ (Mark Strong, Nina Sosanya) country home. When tragedy strikes, mother and baby are isolated, and the film shifts into a road movie of survival. The mother faces many challenges along the way, and the decisions aren’t always easy, but certainly her commitment to keeping her baby safe cannot be questioned. Along the way, she crosses paths with another new mom (the always terrific Katherine Waterston), who makes a good travel companion, and a loner played by Benedict Cumberbatch who provides the women with a much needed serving of food and momentary distraction.

Mostly what we see is how people react to traumatic situations when desperation takes over. Law and order gives way to human needs and selfishness. Understandably, these reactions take on varying tones and looks … sometimes it’s looters at the shelter, while other times it’s an island community isolated from collapsing society and working together to begin anew. Viewers will experience vicarious anxiety as Comer’s mother and child trudge on, yet again, it must be noted that little here seems over-the-top. In fact, the only scene that fits that is a stunning waterfall shot seemingly included only for its visual beauty. The storms may have caused a power outage, but the real power shown here is the protective nature of a determined mother (and of course, Ms. Comer’s performance).

Available to buy or rent on digital beginning February 6, 2024

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Posted by David Ferguson

MOTHERING SUNDAY (2022)

April 8, 2022

Greetings again from the darkness. Every writer has a story about what inspired them to put words on the page. What we have here is Eva Husson directing a script from Alice Birch (LADY MACBETH, 2016) who has adapted the 2016 novella from British author Graham Swift. We follow Jane Fairchild through three stages, as her work as a maidservant allows her to become “an occupational observer of life.”

It’s Mothers’ Day 1924 and Jane (Odessa Young, SHIRLEY, 2020) is anticipating her latest romantic tryst with Paul Sheringham (Josh O’Connor, EMMA., 2020). Both know this is their final time together, and they take full advantage. Jane’s employers, Godfrey and Clarrie Niven, are meeting Paul’s parents for a celebratory luncheon with Emma (Emma D’Arcy), the ‘proper’ woman Paul is to marry. Oscar winner Colin Firth (THE KING’S SPEECH, 2010) and Oscar winner Oliva Colman (THE FAVOURITE, 2018) play the Nivens, and deaths from WWI hang over all of these families like the darkest of clouds.

The story is told in non-linear fashion, with Jane and Paul’s final lovemaking session being that which all other events seem to revolve. We also spend some time with Jane in her 40’s as she is living with her philosopher husband Donald (Sope Dirisu), and then in her 80’s as she is celebrated as a renowned and prize-winning author. In this last stage, Jane is surprisingly played by the great Glenda Jackson, a two-time Oscar winner (A TOUCH OF CLASS, 1973, and WOMEN IN LOVE, 1969), who has only appeared in a handful of TV movies these past thirty years. Ms. Jackson turns 86 next month, and spent time as an elected member of Parliament. She’s always been an interesting person, and it’s terrific to see her back on the big screen – even if she only gets a couple of brief scenes followed by one substantial one near the end.

It’s a beautiful film and it’s sensuously photographed, though maybe a bit odd in that it focuses so diligently on the visuals (thanks to cinematographer Jamie D Ramsay), while actually following a woman’s journey into writing. Love (or lack of it) and grief and life’s transitions are all on display, as are the harsh realities of class differences. Ms. Young and Mr. O’Connor are both terrific, and though she has minimal screen time, we are stunned again at just how much emotion Ms. Colman can convey with her face.

Memories and recollections of “that day” play a crucial role as the mature Jane wrestles with writing her novel … one that her publisher expects to be a thriller. Of course, we watch as Jane’s story plays out, so we know where her writing is headed. The film has a vagueness to its storytelling that prevents us from ever fully engaging with Jane or any of the rich, sad people, yet it’s such a beautiful film to look at that we never seem to mind.

In theaters on April 8, 2022

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Posted by David Ferguson