Of course, there are also stories on the relevant fan fiction portals in which “Panem” amazons of Katniss Everdeen and “Twilight” glitzervampir Edward Cullen romantically to erotic. But as permanent and animal as Jennifer Lawrence in “The, my love“The Young-Adult fan author certainly did not imagine Robert Pattinson. the Oscar winner (for “Silver Linings”) loses every psychological support and every acting reluctance with the beginning of motherhood. This time, this time no surreal horror spurts are required, but “only” a postpartum disorder.
“A BeautyFul Day” director Lynne Ramsay provides a formally and thematically uninhibited-radical film, which does not even try to explain the state of emergency of his protagonist, but instead lets us go down together with her. Despite macabre-black-humorous tips, it is above all a hose end, which challenging empathy, possibly even overwhelming experience to look at “the” My Love “. In the end, everyone has to decide for themselves whether this two -hour permanent fire was worth it for the eyes, ears and soul – only Jennifer Lawrence completely detached, 100 percent vain performance is beyond any doubt.
Many YA fans are already waiting for a meeting between Jennifer Lawrence and Robert Pattinson-but they probably imagined it quite differently.
“The” My Love “begins with a long, rigid attitude that you would expect more in a social drama by Mike Leigh: we see through the kitchen and the living room through the tributary. The wallpapers are ranked, the floor is dirty. But we hear a joyful couple outside – they are Laura (Jennifer Lawrence) and Jackson (Robert Pattinson) who will move in here. But possibly should have given them to think that they only get the house because Jackson's uncle took his own life with a shot in his ass. And indeed: it is the last silent, static and carefree-huge moment in the entire film.
Even with the first cut, a skirt begins that literally blows away your ears in a reasonable cinema. In staccato -like scraps of images, we see how the two stars wild on the kitchen floor, and again and again interrupted by a prophetic camera trip through a forest in which the huge trees are already in flames. Turned in a breaking 4: 3 format, the isolated house is becoming more and more a personal hell-for whom, after the birth of her son, horny, fantasies of violence and anxiety developing, (self-) destructive Laura, but also for the Jackson… completely overwhelmed with the situation …
A symphony of horror
After just embodied 18 roles in “Mickey 17”, it is completely okay that Robert Pattinson is taking back this time clearly: When Jackson, he just has to look at helpless (and also a little bit) what Jennifer Lawrence pulls off here for a blatant one-Woman show. She crawls up at her husband like a lioness on the (sex) game; She masturbates in the high grass in front of the house, with a knife in her hand while watching Jackson with the baby; She meets at night with a mysterious motorcyclist (Launkeh Stanfield); It jumps through the pane of a closed tributary and out of the moving car.
A scene on a children's birthday almost seems almost as if Lawrence had just been sent to the set with the order to create the most violent stranger as possible-and it is thanks to its strong comedic timing that despite all pain, one has to laugh at the mere absurdity of her freak again and again. Her overwhelming behavior cannot be long on boredom alone, the isolation and Jackson's side jumps. Something is wrong here – and Lynne Ramsay literally feels this on our own body: Not only the central performance, the audiovisual design is also a single tour of force.
The happy moments are getting shorter and less common …
“The” My Love “is based on the novel of the same name by Ariana Harwicz, which mainly consists of the inner monologue of the first-person narrator that fluctuates between moments of madness and the clarity. Unlike Kristen Stewart in her day before “The” My Love “in Cannes premied directorial debut” The Chronology of Water “, in which she translates the fragmented language of the profane poet Lidia Yuknavitch into corresponding film-like, Ramsey does not use the form of the template. Instead, she strives for the same level of disturbing intensity with other blatant audiovisual means.
Be it the excessive silent sum of a fly, the screeching of the baby, the pain -filled yell of a dog – apart from the songs that only indicate a brief moment of liberation, the whole soundtrack feels like a single extensive attack on our senses. Even the star -hung night shots, with bubbling clouds of clouds like from a painting by William Turner, are not just beautiful, but always radiate something disturbing and dangerous. Lynne Ramsey does not let her protagonist off her shovel, why should she do it differently with her audience?
Conclusion: Lynne Ramsey lets her Star Jennifer Lawrence completely horny, fantasy of violence and (self) destructive young mother-and Robert Pattinson can only watch and overwhelm. “The” My Love “is a film like a pushing panic attack, like a two -hour roar in the head – the only question is: is that a lot of noise about nothing or noise for nothing?