In a horrible and tired scene that makes up Lynne Ramsay’s “My Love”, Grace (Jennifer Lawrence) suffers from an acute trauma case – the film will convince you that this is postpartum depression, although you can well show that it’s not a good reason – Jackson once had enough. The two live in a house Jackson inherited from his uncle, which certainly could be a fixed person. These two are just unwilling to fix it.

You know they have a baby, a cute little boy, and everything has broken down since he entered life. The dog literally never stops playing (it's the most annoying dog in history), so Grace, who brought a shotgun, asked Jackson to shoot. He said: Are you kidding? So Grace picked up the shotgun and did her own thing.

Apparently she has a problem. But I can’t help wondering why Jackson first had to deal with a new baby, bringing that dog home, or, more importantly, why he seemed insensitive to the fact that grace didn’t want a dog. This situation represents the dynamic of "death my love", and that's it: grace acts in fanatic, angry, violent, inexplicable ways - Jackson, though frustrated by her behavior, rarely does Jackson raise his fingers to do anything that can help her. Is he insensitive or stupid? Pattinson is just an unpleasant ignorant brother in a rare show. "Die My Love" introduces us to a case of a blind man.

Postpartum depression is a syndrome that used to be in the shadows, and there are some ways that are still the case. It is still misunderstood and treated, without sufficient sympathy. However, “dead love” makes it gorgeous and strange that in many ways, what happens in the mind and mind of a woman in her first few months (or even years) maternity, is a confusing hyperbolic projection.

It's the first film directed by Lynne Ramsay in seven years, since the shocking Joaquin Phoenix abortion and drama You Never Really Here (2017), and what she built in the early scenes of the film, a grace and Jackson man, a life that makes people live, a kind person, a kind person, a kind person, a willing, a willing, a willing person. The way they plan to Budweiser. It's OK; they have the right to continue drinking and raising children at the same time. But, there was little feeling, and both of them decided to be a responsible adult.

She is an aspiring writer, and she says she finishes writing once the baby is born. He got… some kind of work that seemed to be done occasionally on the road (we don't know what this is), but for the most part, two people just wandered around that house. Apart from the instincts of Ramsey’s art entertainment, their lives or films are structured in small ways and cannot continue to improve the level of shock in the act of grace. This is not true dialogue- Drive movies. Grace and Jackson never had a simple conversation about future plans, health insurance, or groceries purchases, or how they plan to give them to their parents. They look like teenagers, they have a baby because they like to fuck a lot, and you know, shit happens.

So when Grace starts in a way that makes her completely out of her mom program, the context of the movie creation is that these two already don’t seem to really accompany the program of mom and dad. For example, when we see them happy to see their son, there is never a moment. He is more like the accessories they have to take care of. Although there is no simple template for how postpartum depression expresses itself, it can often be very introverted.

On the other hand, the complete alienation of grace and motherhood is exaggerated outward. As a filmmaker, Ramsay is an emotional poet who favors violence and needle drops (her blood has a lot of Scorsese), which is literally in this case because our two stylish parents have a turntable. Grace first starts transitioning to devastating when Toni Basil's "Mickey" plays "Okay! OK!" Then lick the window. Ramsay has a luxury gift for performing that kind of rolling crash of baroque rock. (Grace will crash through the same window soon after.) From the beginning, though, the film seems to be getting higher and higher on the dysfunctional stage that shows your behavior. "Die My Love" keeps saying: This may be a mental illness...but wow, this is a movie theater! In a way, we are watching Grace cracks because so much trauma is fixing.

In feminist times (such as the 1950s), women were regarded as “irrational” or “excessive emotion” or – Freud’s words – a definition of “hysteria.” But, like many aspects of the past, including those that once retrograde, can be recycled through a new consciousness, the view that the new mother has the right to become unreasonable in her despair - almost everyone in the movie, especially Jackson's mother Pam (Sissy Spacek), tells Grace, tells Grace - tells us the center of the present. This is progress. Because this is reality. The burden of maternity and childbirth can be as shocking as joy.

But for all Ramsay’s talent, “Dead My Love” is not intended to explore this experience. It is designed as a paper film: ostensibly reckless, but overly determined. I think that's why Jennifer Lawrence is so explosive, but at the same time, emotional focus. She is a waste of ace when chewing a clumsy cashier, crawling like an animal, wasting the bathroom and pouring soap products on the floor, or slamming her head onto the mirror. But the power of her destruction makes us want to go: What happened?

We hope this movie provides Some Some answers. Jackson checks Grace to a psychiatric hospital and she becomes “better,” meaning she desires to rely on cake support and hides the darkness after sunny agreement, looking like a parody of a happy family. But so far, we are shooting movies. We are just waiting for that facade to break. To be honest, it seems to me that she has borderline personality disorder regardless of whether she has postpartum depression or not. But it will be a different movie. By the time "Dead My Love" reaches the inflammatory nature of the demon under, but somehow rote, you may wish you were exist A different movie.