There’s nothing like watching an actor or actress at the height of their powers, unleashed in a showcase film. With Die My Love, you’re given the gift of watching Jennifer Lawrence absolutely own the screen. The film itself is a very strong psychological black comedy, consistently surprising, while often even being shocking, but Lawrence is the absolute centerpiece. Watching her just set the celluloid on fire with some of her best work to date is a pleasure. The movie won’t be for everyone, but in terms of an acting showcase, there have been few better in 2025.
Die My Love is very much Lawrence’s show, while still clearly being a Lynne Ramsay movie. That will limit the audience somewhat, as it does for all of her work, but it does mean that those who get on its wavelength are going to be very taken by what they see. Like any challenging cinema, there will be a divisive element as well, which I understand, but consider me very much in the pro column of things with this flick.
Grace (Lawrence) and Jackson (Robert Pattinson) are a young couple from New York City who have moved to Montana, taking up residence in his late relative’s home. Initially, while it’s an adjustment, they seem to be having fun. Soon, Grace is pregnant. New parents, Jackson begins to be away at work more, or brings home a dog without consulting Grace. While he’s being distant, Grace is beginning to struggle with feelings of isolation, loneliness, and even psychological issues.
As Grace’s distress increases and her mental health deteriorates, so too does her relationship with Jackson. Interactions with his mother Pam (Sissy Spacek) and memories of his late father Harry (Nick Nolte) loom large in her mind, while her lack of physical intimacy with him post child does as well. The longer this goes on, the more unpredictable she gets, with disturbing and even dangerous results.
Jennifer Lawrence gives one of the absolute best performances of her career here, emotionally and physically laid bare. Watching Lawrence let loose is an acting treasure, to be sure. She finds the dark humor in her depression, though the devastating nature of it, as well as of postpartum, is never mocked. Her savage humor, her devastating breakdowns, and her stunning screen presence here stands tall alongside anything she’s ever done before. Robert Pattinson is very strong as well, though it’s notably a background performance in some ways, absolutely by design. Still, Pattinson is such an hypnotic actor, watching him even just in Grace’s peripherals is still compulsively watchable. Pattinson makes Jackson a frustrating character, but always one you’re fascinated by, especially in terms of his volatile chemistry with Lawrence. Nick Nolte and Sissy Spacek are very nice in smaller parts, though each has a showcase, while LaKeith Stanfield brings a presence to a role that doesn’t have a ton to it, ultimately. Supporting players with small roles here include Clare Coulter, Saylor McPherson, Gabrielle Rose, and more, but everyone is just in Lawrence’s absolutely staggering orbit with this one.
Co-writer/director Lynne Ramsay is never one to play it safe, so it’s no surprise that there’s some very out there moments in this flick. Adapting the book of the same name alongside co-writers Alice Birch and Enda Walsh, Ramsay changes things to suit her needs, while keeping the spirit of the story intact. Visually, it’s stunning direction, with some hauntingly beautiful images. One such moment, involving breast milk and ink, will almost certainly stay with you. Ramsay is a genius, to be sure, and giving this material to Lawrence to ace is one of her finest moves to date.
Die My Love has one element I did not care for at all involving the dog, but other than that, I was largely blown away. A lot of that has to do with Jennifer Lawrence, but Lynne Ramsay’s overall vision is just impossible to not be struck me. Consider me disturbed, impressed, and overall grateful for talents like this.
SCORE: ★★★1/2






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I’m a bit colder on the movie as a whole, but it is awesome seeing Jennifer Lawrence aging out of her America’s Cool Bubbly Girlfriend™ era and diving into these more bracing, caustic roles.
It’s a shame that the divided response from general audiences will likely hurt her awards chances because I’d love to see the industry recognize her for actively making moviegoers feel uncomfortable, and encourage her to keep doing it.
100%
If it was just about the performance, she’d absolutely be in the top five.