Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.
Chuck says:
Lynne Ramsay’s “Die My Love” is the kind of movie you admire rather than enjoy. Unflinching in its examination of mental illness, it’s a film designed to make you uncomfortable. As such, “Die” puts the viewer in the shoes of a vibrant young woman awash in anger and frustration, unaware that her perception of all around her is skewed and inaccurate. And while Ramsay’s approach proves innovative, it would never have succeeded without a raw performance provided by Jennifer Lawrence, powerfully reminding us why she is one of the most daring and effective actresses of her generation.
It becomes apparent early on that Grace (Lawrence) is a woman who marches to the beat of her own drum. Akin to a force of nature, the writer is the sort that commands attention when she walks into a room, someone who dominates every situation with her mere presence. This is what initially drew her husband, and fellow artist, Jackson (a fine Robert Pattinson) to her but it’s obvious he has no real awareness as to what makes her tick or what she needs.
This becomes apparent soon after they move back to the rural town he grew up in. Having lived in the New York City, this change is a shock to Grace’s system, one that has her back on her heels once the initial charm of the place wears off. The birth of a child and Jackson’s frequent absences only exacerbate her sense of isolation, her behavior becoming erratic, causing her mother-in-law (Sissy Spacek) to take a more active role in her life. This proves futile as well, Grace’s actions becoming more extreme and alarming, her being institutionalized the only way to get her help.
The film at times is disjointed and purposely so. There are inexplicable leaps in time; characters appear, disappear and show up once more in places they shouldn’t; locales shift unexpectedly; events are replayed but from a slightly different perspective. The sense of disorientation that results is to put us in Grace’s shoes and it is brutally effective. A sense of frustration, confusion and hopelessness is shared between viewer and antagonist, the vicarious nature of this approach impossible to shake.
Lawrence’s fearless approach in bringing Grace’s illness to life is vital to the success of the film and, more importantly, our identifying and sympathizing with her. There’s never a sense of judgement; the actress embrace’s her character’s behavior, not to revel in it, but rather to portray it honestly so as to dispel the stigma that often surrounds such conditions. Whether displaying Grace’s oversexualized nature, her sudden anger, frequent confusion or debilitating apathy, Lawrence’s work is of the most valuable sort as it makes Grace relatable and recognized.
Perhaps the most tragic aspect of “Die” is in its assertion that Grace’s condition is not curable. To be sure, there are treatments that offer some relief but these are just stopgap measures. What afflicts her and millions of others is just being held at bay, waiting for the defenses to fall or, most commonly, for the afflicted to simply give up the exhausting fight and let their madness run riot. Ultimately, “Die” casts Grace in a courageous light, oblivious to the extent of her condition, bravely fighting that which she does not understand. The film’s final haunting image is one of inevitability. That no judgement is made towards all that occurs is a humane and sympathetic act.
3 1/2 Stars
