In The Killing of Two Lovers, written and directed by Robert Machoian, a middle-aged man named David (Clayne Crawford) desperately tries to keep his family of six together during an amicable separation from his wife, Nikki (Sepideh Moafi). Even though they both initially agreed they could see other people, David can’t control his hurt towards his wife’s new relationship and doesn’t hold back in expressing his male agro-rage.
Expression
Similar to how Marriage Story felt like a personal catharsis of sorts for director Noah Baumbach, The Killing of Two Lovers feels like familiar territory to director Robert Machoian. Full of heartache and angst, this character-driven drama tells a modern story of untraditional boundaries within a relationship and the complexities that come with veering from the status quo.
The film buzzes with electricity, Clayne Crawford is a firecracker who knows exactly when to unleash his emotional load or hold back and keep his vulnerabilities close to the vest. Crawford is the breakout from this Sundance-selected film, and I’m excited to see what kind of role he takes on next.
Expression: 4 out of 5 stars
Daring
What sets this film apart from other relationship dramas is that the suspense and tension comes from what we don’t see on screen, mainly due to the use (and overuse) of long takes (more later). Robert Machoian’s script forces the viewer to use their imagination as to the thoughts, feelings, and emotions of the other characters in the film since we see the story unfold directly through the eyes of the protagonist David.
Although it can feel biased at times, it’s an interesting directorial choice which earned Machoian a nomination for the NEXT Innovator Award at the 2021 Sundance Film Festival.
Daring: 2 out of 5 stars
Craft
Robert Machoian seems to really like the “long take” technique, as he falls back on this shooting style a little too often throughout the film. The first couple of uses are mesmerizing as we follow David running down a snow-lined street, or watch David drive his truck down the highway to catch up with his wife’s new boyfriend, or watch David and his kids set off mini-rockets, or… you get the idea.
This observational aesthetic would have been more impactful if used more sparingly. Nevertheless, the scenes are gorgeous and cinematographer Oscar Ignacio Jiménez creates a boundless cinematic landscape to fall in love with, almost on par with Nomadland. The soundscape is also noteworthy; much of the film’s tension comes from quick cues and eerily ambiguous sounds.
Craft: 3 out of 5 stars
Impact
For as much as The Killing of Two Lovers feels like a never-ending upward swing of emotional chaos, ultimately and unfortunately, it is met with a lackluster ending. After investing an hour and a half into this messy and complicated family, I was hoping for an ending that fit the bill. But that’s life– unpredictable and sometimes: disappointing.
Impact: 2 out of 5 stars
Conclusion
While it wasn’t as hard-hitting or impressionable as I had hoped, The Killing of Two Lovers is undeniably rich in its visual aesthetic. It could be argued that it has a slight case of “style over substance” syndrome, but overall it is an impressive early feature from all involved.
Watching The Killing of Two Lovers is best compared to witnessing a thunderstorm. First, the calming, almost zen-like rain begins to intensify, and the ground starts to slightly tremble with the anticipation of what’s to come. A bright light flashes, catching you off-guard. Then a large crash echoes throughout the sky, causing a range of emotional instability like panic, bewilderment, or fear. And then it’s over, just as quickly as it came on.
Conclusion: 3 out of 5 stars
NEON will release ‘The Killing of Two Lovers’ in theaters and on demand Friday, May 14th, 2021.
