Jennifer Lawrence and Robert Pattinson premiered at the Cannes Film Festival in Lynne Ramsay’s “surreal” and “hard” study.

Lynne Ramsay's We Need to Talk Kevin is one of the hottest portraits in the cinema and she doesn't like her mother. This extraordinary British director's new film is almost an informal prequel. Adapted from Ariana Harwicz's famous novel of the same name, Death (Die), My Love is a surreal, intense, and sometimes dark fun exploration of postpartum depression - although it does seem to have been a while since it will be more important than that.

Jennifer Lawrence is better than ever, Grace is an aspiring writer who moved from New York to the countryside with her partner Jackson, played by Robert Pattinson with a similar vanity-free passion. The couple's new life has the potential to become idyllic. As the animal sex scenes show, they are in great love, their spacious school-leaving houses are surrounded by woods and grass, so Grace will have the peace and freedom to write novels.

Still, in the opening scene, the pulsation of the footsteps of the rat warns that this dream house could be a nightmare, so it’s no surprise that grace can be plagued by boredom, loneliness, loneliness and sexual frustration once the couple has a baby boy and Jackson starts leaving the house a few days a week. Then, Jackson went even more crazy when she came home with an untrained, permanently barking dog.

Death, my love should be shown to teenagers to warn of repetitive, angry and alienated babies. Ramsay experts use countless techniques – detailed sound design, persistent music, mixed chronology, weird dream sequences – convey the feeling that grace is standing out from reality: she may be better than Ramsay’s previous film 2017 (the 2017 film, where you’re never really unstable.

What stops the film from becoming too stressful to bear is that Lawrence is always tough and full of energy even in the lowest ebbs and flows of characters. She never begs us to sympathize with her. The scripts are also very interesting. Jackson sees himself as a supportive partner, but he is the kind of person who won't turn off a loud rock song in a single-minded conversation because, after all, "it's the classic." Grace's fatigue and resentment prompted her to sarcastically sarcasticly of any folkloric locals who were friendly to her.

In addition to building a disturbing, American Gothic atmosphere, the film’s first half also contained various omens, and Grace’s internal conflict would soon be shocking. Her habit of crawling on the grass grabbed a large kitchen knife and suggested death, my love might turn into a movie. The motorcycle rider kept roaring through the house, his identity was covered by the tinted sun visor of the crashed helmet, indicating an invasive thriller is on an outing. A reference to the suicide of the former owner of the house means that the movie might be a supernatural cooler about the cursed haunted house. Then there is Jackson's recently widowed mother, Sissy Spacek, who sleeps on the road with full rifles not far away. Her and the sequence of grace make an interesting case where the experience of adapting to birth is reflected by the experience of adapting to death. These sequences also guarantee that some kind of violent confrontation is only a matter of time.

It was disappointing at that time that none of these omens of doom developed into a storyline. The movie has a lot of events, but is essentially emotionally passion - a long nerve breakdown - rather than a plot drama. And, my love became exhausted as the later scenes kept reiterating the early parenting themes and thus died. Another scene of Ramsay’s talent for filmmaking is lit up, but as a narrative clip and a blur of reality and fantasy, you are reluctant to read novels to find out what actually happened. The film may have conveyed the boredom and confusion of its heroine.