November 21, 2025 • 41 mins
Why Die My Love Left Us Wanting
SPOILER ALERT: Episode contains key plot details from Die My Love.
Join TCA as we dive into Die My Love, a film that reaches for emotional intensity while wrestling with structure and perspective. We start with our immediate reactions to the film and how quickly its tone repositions your expectations (00:00), then move into the visual choices and subliminal cues that shape its atmosphere (19:59). We examine why the story feels both packed with ideas and strangely underdeveloped (20:33), and at 21:00 we explore its portrayal of postpartum decline and how closely it connects to real emotional experiences without always earning the weight it aims for. Thoughts on the nonlinear narrative come next (24:12), followed by a closer look at the lead performances and the chances they have in awards season conversations (27:26). We close with the psychological unraveling of the central relationship (30:52) and wrap with a few recommendations for what to watch next, including All Her Fault and Guillermo Del Toros Frankenstein (36:29).
TCA Verdict: a divided room, striking ideas, and a film that never fully settles into itself.
Find us on Instagram, Twitter, and YouTube at @CinephilesAisle.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Ofili (00:30):
All right, ladies and gentlemen, welcome to another
episode of the Cinephile'sAisle.
It is Ofili and McSteve today.
How you doing, bro?
Steve (00:38):
I'm doing good, bro.
It's snowing in Toronto, whichwe're in the second week of
November.
So that's a very, very big jumpscare.
I wasn't expecting that.
But you know, we're thriving.
SAD came earlier this year.
What can we do?
Just gotta be sad for the nextsix months.
Ofili (00:55):
You know what's crazy?
I was thinking the same thing.
I was like, it so it snowed inChicago like last week.
Okay.
I or was it like Tuesday?
And I was like, yo, does itnormally slow around this time?
Is it this feels this feels alittle bit early?
People started telling me itsnows almost every year around
Halloween.
Steve (01:13):
And for some reason I didn't pay attention, but yeah.
But it's crazy.
I just wasn't expecting that.
I wasn't here this time lastyear in Toronto.
In New York, it wasn't snowing.
I talked to my New York coworkers, you're like, yeah, it's
not snowing.
We're good though.
We're doing good.
This is the time of the year.
I feel like I say this everytime we record around this time,
but all the quote unquotereally good films start to come
out, and you're like, Oh, Idon't have enough time for this.
Ofili (01:35):
It's Cinephile bag.
Cinephile bag, man.
Cinephile bag, bro.
Steve (01:40):
Award season torture.
Ofili (01:42):
We love it.
But like I tell everyone ifyou're doing an on-again, off
again cycle for AMC, it'sOctober, November that you
start, you get it on.
Cancel is in January, they banyou for six months.
You pick it back up in June.
Steve (01:57):
Yeah.
Oh man.
But we've got it some goodstuff this year, you know?
And it's been a good year.
So I'm gonna read a couplereviews for some of the films
that we've seen this year.
And I want you to try and guesswhat films they are.
Ofili (02:08):
Okay, fair enough.
Are these going to be like ourreviews?
Like, are you reading from likemy Letterboxd?
Steve (02:13):
No, just random letterboxd, just random
letterboxd reviews that Ithought were pretty funny.
First one for busy movie fanseverywhere, you can rest easy
because I can confirm that youdon't have to watch the first 16
films to enjoy this one.
Ofili (02:28):
I feel like this is like Fast and Furious is not 16.
Oh, MCU stuff.
It's it's something that's nono no.
Steve (02:35):
It's it's a film that came out this year.
Ofili (02:37):
It's a film that came out this year.
Steve (02:38):
Yeah, it's an only 2025 film.
You don't have to watch thefirst 16 films to enjoy this
one.
Ofili (02:45):
Oh, Mickey 17.
Okay, yeah, yeah.
Mickey 17.
Mickey 17.
I thought that was funny.
Steve (02:49):
Yeah, that was funny.
Um, this one just says, fine,I'm gonna kidnap and torture
Jeff Bezos.
Ofili (02:57):
Okay, that is BUGONIA.
That is BUGONOIA.
Damn, you're good with you'regood at this.
Yeah, I feel like this has beenreally fun.
This has been really good.
It's for sure been a reallygood year for movies.
Steve (03:09):
Fair enough.
But no, it's been a really goodyear.
I'm not gonna lie.
2024 was not that strong.
I was looking at the nomineesfor best director, and he had
like Sean Baker and theBrutalist and the Substance and
stuff like that.
I'm like, okay, we could havedone better.
But this year is good, and Ithink next year is even going to
be crazier.
Strong end, strong close to theyear that we're having so far.
Ofili (03:30):
Yeah, isn't the I can swear the Passion of Christ
movies coming out next year.
Whoa, there's a Passion ofChrist, you know that there's
like a new Passion of Christ.
I didn't even know what thechange in the story is.
We know how it ends.
Mel Gibson.
I don't know if it's MelGibson, but I feel like there's
a second Passion of Christthat's coming out next year.
And I think Scorsese is doingsomething religious, though.
I know Scorsese is doing areligious thing.
Steve (03:51):
Okay, okay.
Ofili (03:52):
Should be coming out next year.
We know the Odyssey is comingout next year.
Steve (03:56):
Yeah.
Yeah.
And then if you're an MC, ifyou're a comic book fan, next
year is the year.
It's the it's the repeat of2018.
We have our next super, superbig, super sized film since
Endgame, um, Doomsday.
So yeah, that's a big one.
Ofili (04:13):
I mean, I I really doubt it's going to beat Edge of
Tomorrow or Man of Tomorrow.
Man of Tomorrow, my bad.
Steve (04:19):
It is absolutely going to affiliate comeback.
I I don't think so.
I really don't think so.
Bro, so I think I was talkingto my friend about this.
I think the thing is we go, wego in phases, right?
No pun intended, even thoughthe MCU has phases.
But we've just come out of avery bad phase.
We've come out of a phase wherepeople thought that Marvel
films were going to die, right?
And we're on the high rightnow, and the box office tends to
(04:41):
follow, and the quality alsotends to follow those phases.
So since we're bad, you knowthis every film that was coming
out was bad.
I don't know why or how, but itwas just all bad.
And now they're good.
Yeah, and now they're good, andevery film that's coming out is
good, you know what I mean?
And the crescendos, thecrescendo's, and I think
doomsday stuff.
What do you mean?
(05:02):
They've all been good.
If you ignore that BlackCaptain America one, we don't
talk about that one.
They've all been good.
Ofili (05:08):
So they've they've been they've been better.
They've been better, they'vebeen good, they've been better
than the last like four years.
Like, you know, as a United, Ifeel like as a United fan, you
know, this last like three gameswhere we were like we were like
second on the table for alittle bit.
We were like, oh yeah, we mightbe winning the title.
(05:30):
I said, Well, just better thanwe've been recently.
It doesn't mean we're one ofthe best.
Steve (05:36):
Unfair one player of the month, and the United coach one
coach of the month.
You guys are good.
Like, you can just take that,right?
And I think it's the same thingwith Feige and his his his
universe right now, and the guysdown the street too, DC,
they're doing great stuff too,you know.
Ofili (05:50):
So I hate that you're saying DC, they're doing great
stuff, like they're not the onecornering the market, big dog.
What do you mean?
In all kinds, like I feel likethey're they're beating, they're
beating the boys, they'rebeating Marvel to a pulp.
Like the Sean Gun universe isliterally dominating.
Steve (06:10):
This is their biggest, like, this is as big as it gets.
Ofili (06:13):
They started off with the bang, we're starting off with
supporting characters.
I don't think okay, man.
You're gonna be able to get it.
You're forgetting Lance comesout next year.
Steve (06:22):
It's not going to beat Superman.
Super Girl is also not gonnabeat Superman, like nothing that
they're going to come out with,except obviously Batman film,
is going to beat Superman.
Ofili (06:30):
No, I disagree.
I okay, okay.
I feel very much that you willbe shocked when it's time.
Steve (06:36):
Okay.
Well, um, yeah, speaking of2025 and the good, you know,
there's some that haven't beenso great, some that we really
wanted to be great.
And today we're gonna talk abit about one of those films.
Um, directed by Lynne Ramsay,produced by Martin Scorsese and
Jennifer Lawrence.
(06:57):
It's the independent film fromMubi.
Well, it was acquired by Mubifor 24 million, their largest
purchase to date.
Um, it's called Die My Love.
And how are we feeling aboutDie My Love Ofili?
Ofili (07:11):
I think that's very interesting that you started off
with like talking about weexpected this to be good or we
wanted this to be good.
I did not.
I very much did not.
And it's hilarious.
I as soon as I started seeinglike produced by Scorsese
everywhere, I was like, nah,nah, nah, nah, nah, nah.
You fooled me one time withthat him movie when it was like
(07:35):
produced by Danny Peeleverywhere.
No, you can't run this on metwice.
Oh come on, come on.
Steve (07:43):
I think for being a bit disingenuous there.
I thought it was or maybe it'sjust me.
I thought it was gonna be good,and I thought it was gonna be
good for two reasons.
One, it was on this podcast,this very podcast, that we
talked about the current filmstars, like the big movie stars
right now, right?
Yeah, we're talking about howyou know Tom Cruise is the last
great one, but we have a newbatch coming up.
And we said Pattinson was amovie star, like that was the
(08:05):
consensus on here.
J Law took time away from thebig screen because she had a
kid, she got she went throughsome form of PPD, not this form,
but she went through somestuff, so she took time out.
But she's but like if you goback to 2014, I would make the
claim that she was the biggestactress in the world, like
during the Hunger Games and umSilver Lining's playbook and all
of that.
(08:26):
She was pretty big.
So I think I don't know aboutthat.
No, I I I think there's a claimto be made.
There is a claim to be made.
Ofili (08:33):
Obviously, you had I think in in some spaces, like in
some in some YA young adultspaces for sure.
Steve (08:39):
Some YA spaces, yeah.
Yeah, yeah, for sure.
But I think like when you haveJ Law and Pattison, and then you
have like the producing teamthat you have, we were expecting
this to be good, or we werehoping at least that it would be
good.
The press had them, you know,tugging on the strings of some
old rom com, you know, presseswhere they're making jokes and
they're hugging and kissing, notkissing, but like, you know,
(09:01):
poking at each other's personallife and stuff like that.
So they marketed this like itwas going to be one of those.
I'm not even kidding.
And before the film even cameout, we already saw critics
calling her calling for her tobe nominated for um best actress
in the Oscars.
So uh walking into the theater,I walked in, it was limited
release, so which probablyplayed into this.
(09:22):
But when I got there, it waspacked.
I sat in a very front rowbecause of how packed it was,
you know what I mean?
And so I think my entireaudience was hoping for this to
be good, to be good.
Um yeah, so that's why I thinkthat's why I think we're hoping
for it or expecting it to begood.
Ofili (09:37):
I think we lived very different lives.
I'm not gonna lie.
Because I first of all I feellike you should never know some
finer details when things aregonna be really good.
You never know some finedetails of things.
Like you can, you know, youknow, Barcelona is kind of you
know it's kind of shaky, alittle shit right now, because
(09:57):
you know who like Barcelona B'scoach is.
You know, you know names thatyou should not be knowing.
But I'll stood there like youknow who you mean, what is like
you know what I mean?
Fair point, you got a fairpoint.
I can name like six peopleapart from the coach that like
the man is not slaughter, andyou should never know that.
(10:19):
Yeah, like okay, that's fair.
So that's that's that's anexample.
So and then to apply it herefor me, it's like thinking about
the producers.
Like, I don't think I shouldever really know who the
producer of a film is.
If the movie is going to bebanger like that, yeah, they
don't need to highlight that.
The film should the trailershould carry itself.
(10:39):
Okay, the stars should carryitself.
And like when I I think like ittook me out when you were like,
um, you said the producers uhlike big star producers,
Scorsese, and you know, and Iwas like, the other producer in
the film is J Law.
Yes, like it is her.
Steve (10:59):
When is she a star producer?
No, no, she's owned aproduction company for a bit of
time now.
I think she's produced a few.
No, she has, no, it's not shehas she has she has she's not a
big producer, like that's nother thing, right?
She's an actress, but she'sproduced a few.
Fair enough.
Ofili (11:18):
Yeah, I'm going to think about my thoughts going into
this movie or expecting thismovie.
I I watched it on a Thursday, Ibelieve.
Or no, probably like what noTuesday, Tuesday or Wednesday.
It was like right after work.
Um it was chill.
I did not have a packed cinema,even though it was a Wednesday
(11:38):
typically for and like this islike first week release.
So normally it should stretchthroughout the week.
My cinema had like five peopleapart from me.
Oh wow, yeah.
What we do live very differentlives.
That's what I said.
Five people apart from me.
So there was, and I heardnothing going into this week
about this movie.
I completely forgot about this.
(11:59):
So I was just like, Oh, this iscoming up on AMC, so let me
just go watch this.
And I was like, Oh yeah,Patterson's in it as well.
So I yeah, I want to I want towatch that, I want to enjoy
that.
So when going into the film, Iexpected something grounded and
intentional about and like youknow, reading the the reviews a
(12:19):
little bit plus like you know,just the synopsis of the movie.
You know, you understand themovie is about psychological
unraveling, and you know, it'sabout postpartum, yeah.
And I expected something closerto, and I wrote this in my
letterbox review, but I expectedsomething much closer to like
the yellow wallpaper, and that'sa book by Perkins that deals
(12:40):
with the same premise of like ayoung woman like losing her
mind, yeah.
And I think one of the bestexamples of someone losing their
mind in film, and like thatslightly different topic was
dementia, but it was likeAnthony Hopkins and the father,
and like I kind of felt likethis was where we were going.
Steve (13:02):
You're calling you're calling the literal bazooka,
like you're calling he won hewon the very award for the
depiction of that, but okay, Iget what you mean.
Ofili (13:13):
Yeah, but like what are we if we're not meant to learn
from the past?
Yeah, the standards are meantto change each year because we
have more things to pull from.
So I expected this, especiallywhen she recently also the
press.
I'm disgusted by the pressbecause the way they're having
fun, and you're thinking this islike some sweet little
rom-coming in to watch.
Steve (13:35):
I'm like, are these people insane?
I think it's very insightfulfor you to mention the father.
And what the father does reallywell for me, at least, is it
puts us in the seat of the leadactor, like it puts us in
Hopkins' character, and to thepoint where you start to
question, am I losing my mind?
You know, what I mean.
You can hate the film, you cannot like certain things about
(13:57):
the film.
Yeah, you can hate the the wayit chooses to tell the story.
Well, everybody understoodexactly what he was going
through, right?
He takes us through hisjourney.
I feel like Die My Love at nopoint cares to let us know how
she's feeling.
And I don't even think I thinkit does the character itself a
disservice by not even lettingher know how she's feeling.
(14:21):
You know what I mean?
Like, obviously, we know thatshe's going through stuff, we
know that she's going throughstuff, but it's it's never
mentioned, it's never addressedhead on, right?
And they kind of make it feellike she's just throwing
tantrums and wanting to getwanting to have sex and wanting
to wanting to her little urgesto be satisfied in that moment
as opposed to actually liketaking time to go through what
(14:42):
it is that she's going throughand why how she's feeling.
So yeah, I just I just didn'tthink about it like that.
Ofili (14:49):
I hear what you're saying, and you know, I
understand it's very much likebringing up the father again is
very much like hydrogen bombversus coughing baby.
Right.
But but looking at this film, Iactually disagree.
I think they try to show uswhat her descent into madness is
and what her feelings are, butthey do a poor job, they do a
(15:13):
really poor job, and one of theeasiest scenes is the
hallucinations because you'realso there, like they you're
like, I don't get the purpose ofthis.
Like you you almost feel likeLakeith is in a perfume ad.
Yes, absolutely, yes.
Steve (15:30):
With the whole motive, like the mode by girl of now,
it's just like yeah.
Yeah, I thought he was Ithought he was a real character.
Like, you already wanted toexplain that to me.
Um, for listeners that feelexplain it to me offline, but I
genuinely thought he was a realcharacter that she was having
real interactions with untilafter like the first time that
they actually interact onscreen, she makes him cut his
(15:53):
lip with a knife until the nexttime I see him, I'm like, your
lip is healed.
How is that happening like howis that possible?
Like, where's the blood?
Where's the injury?
And you know what?
So I think, and plus like whenthey go to his house and stuff
like that.
And so I don't realize, andmaybe I'm just media illiterate,
maybe that's the problem, but Idon't even think the film does
a good job of explaining that.
Like, it seems like everyonethat understood his reference or
(16:16):
the purpose that he serves onscreen read the book or they
knew something about it.
I went in completely blind.
I didn't see a trailer, didn'tread the synopsis, didn't know
any review.
And I like to do that for filmsthat I'm actually excited to
see.
I've set that on the podbefore.
That's right.
Well, I completely had no idea,like, no, I didn't understand.
And so I'm like, okay, withtime, there's going to be some
(16:36):
resolution, as typically thereis with uh narratives.
There wasn't any resolution forhis character or for that
storyline, you know what I mean?
And I'm just like, yeah.
Let's let's let's let's talkabout something that I really
liked super early on.
Um okay, so she wakes up in themiddle of the night, she goes
to breastfeed the baby, she'sbreastfeeding the baby, and then
(17:00):
puts the baby to sleep, walksback to her husband's
workstation or her workstation.
Sorry, she's in she's awriter's, but it seems like they
paint.
And then some of the breastmilk dips onto the canvas, and
she takes like black paint andshe's sprinkling it on
sprinkling it on it.
So the black from the blackpaint and the white from the
breast milk mix, and then wetransition to the night sky,
(17:22):
like the milk being the starsand the black paint being the
night sky, and then transitionsinto Pattinson's face because
he's looking at the night skythrough his telescope.
And I'm like, bro, I literallydid the lean in lean in my feet
because I'm like, okay, and thisis very early on.
So I'm like, okay, we'recooking with gas.
You know what I mean?
Like, we're we've touched theand I know that Lynn is a
cinematographer.
I know that's that's herprofession by by craft, or
(17:44):
that's a craft by um training.
So I know, okay, you know, I'mexpecting some great things.
And the cinematography is good.
I'm not gonna take that awayfrom the film.
Like it's pretty inventive, thecamera work and stuff like
that.
And like even before we get tothat god tier transition, I had
noticed that almost every timethat we're looking at um the
characters, we're we're lookingat them from behind something.
(18:05):
At the very start, we'relooking at them behind pillars,
right?
Like we're three pillars awayand we're watching them
interact.
When we're looking at thehusband, it's usually from
behind a counter or behind atable or something like that.
Like when we're looking at bothat the mom, at the mom-in-law
and Jennifer, it's from behindthe kitchen wall.
So it's a lot of a lot of thatis happening, and there's
mirrors as well.
We're looking at them throughmirrors or through like windows
(18:27):
and stuff like that.
But ultimately, it meansnothing.
Like I'm waiting for it to jumpout to me and what the meaning
is and what the significance is,and it just comes to mean
nothing.
And I wanted to talk about theother thing that ultimately
doesn't really mean anythingbecause you said it in your
review, but there's it's arecurring theme.
It's like the crawling, it's arecurring theme, and it's like,
yo, like, and so at the end,again, I'm giving it patience,
(18:50):
like um Lakeith's character, thethe camera behind behind layers
and the the cinematography, thecamera work.
I'm I'm giving it patient, I'mwaiting for it to end to see
what it all means, butultimately it comes to nothing.
There's a thin line betweenshowing something oftentimes or
over and over again, so that theaudience can be intelligent
(19:10):
enough to pick it up as a okay,this is a theme thematically,
this is what it means.
And then there's the other sideof it where maybe I don't know
what else to do here, and so I'mjust gonna keep the scene.
And unfortunately, man, thisfilm just feels like the latter,
unfortunately.
Ofili (19:27):
Yeah, I think um to to start off with like
acknowledging the same shot thatyou said, that shot, I was
like, that is cooking.
Because even before it mergesinto because he's like spraying
the ink and like the fresh milkand then drips, and before it
merges into the transition tothe night sky and to Pattinson
looking through the telescope,it starts to look like a Rochard
(19:50):
painting.
Yes, yes, yes, yes, where youknow, when where you're like
genuinely like this is what theyuse, or what they use very
popularly in psych words andjust like in psychology
treatment, just to what are youseeing, and just like subliminal
messaging, all of that, all ofthat Freud stuff, and um it's
(20:11):
just it's insane because again,I was like, Oh, that was that's
cool, you know.
That's cool.
That's just it was kind ofstuff.
You're like, oh, that's cool.
Yeah, it was cool.
Oh, that looks good.
Like, like, there's one thingyou can't say is that the film
did not look good, it did, itgenuinely did.
(20:34):
Very quickly, you're like, Ican't take this anymore.
It is like, and I really lovethe part that you echoed in my
review, which is that the filmis both overstuffed and
underdeveloped at the same time,yeah, yeah.
And that is that's the that'sdie my love.
(20:56):
Die my love is overstuffed andunderdeveloped at the same time,
yeah.
And to build off of that, Iwanted to talk about one of the
like the main themes of thefilm.
I was wondering how you feelbecause for me, it's like I feel
like they went into this filmunderstanding that postpartum
(21:16):
decline is like very real, verypainful.
And you know, we we talkedabout Jennifer Lawrence having
you know, having a child andmaybe potentially expensive
postpartum depression.
I feel like the film relies abit too much on that real world
connection instead of earning itthrough strong storytelling.
Do you feel like the topic wasdoing the heavy lifting while
(21:41):
the actual storytelling wassuffering?
Steve (21:45):
I I think two things.
So, yes, the topic is doing theheavy lifting, but that's
that's intentional.
It's a there's a thesisstatement that it's sure, it's a
narrative, but like there's athesis that's building itself
around, right?
PPD, and we're exploring PPDthrough non-judgmental eyes, at
least we're supposed to as theaudience.
But I think the acting is alsodoing some heavy lifting.
(22:05):
So, like the storytelling forme is suffering from obviously
the topic and the acting beingvery, very good.
Like, you're in awe a lot oftimes from J Law's nonsensical
theatrics, right?
You're Jack, oh, she's reallycommitting to it.
But it's not giving me enoughtime to like I'm not able to
(22:25):
fully focus on what the on whatthe the plots or the different
acts or what they're what'shappening narratively.
I'm actually, I think in a fewmonths I'm gonna forget a lot of
the different scenes and whatthey ultimately come to mean.
You know what I mean?
Because like it's not it'sunder it's underdeveloped, like
you said, and it's not allowingitself to actually grow and
develop in real time becauseevery other every other minute
(22:47):
or every other, you know, it'sthrowing us back to PPD, you
know, it's throwing us back toum our lead heroin throwing a
fit or complaining aboutsomething, rightfully so.
So it keeps bringing, and everytime there's another subplot
about to develop, especiallywith the mother-in-law, which I
really like that performance.
Oh my god, it's so good.
Ofili (23:06):
That was so good.
Steve (23:07):
Every time a new subplot is about to develop, you know,
okay, we go to her house andwe're actually like experiencing
her pain, and she's just losther best friend, and she's
confused and sleepwalking.
They find their way to throw itback to her, right?
Like they're in the kitchentalking about her pain, and they
ask her, How are you doing?
and she walks out.
She's walking around, she'swalking at night with a gun, and
she comes herself too, right?
And in that same shot, it goesback to the house, to the to
(23:32):
J-Law, walking out of the houseand going into the field.
It's like we're never evenallowed to let anyone else's
story develop.
We don't husband might becheating on her.
Maybe let's look at this alittle bit more.
Nope, we're gonna go back tothe mom.
And again, that's the thesis.
So, yes, to answer yourquestion, it's a thesis, even
though it's a narrative, there'sa thesis being explored here.
So, unfortunately, we have tostay on that, we have to focus
(23:54):
on that.
It's just as a as a result,like you know, storytelling
suffers because of that reason.
Ofili (24:01):
That's fine, yeah.
I think something that you alsomentioned was how they jumped
back and forth quite a bit, justso that they could focus on
their thesis.
How do you feel about thenon-linear structure of the
film?
And like, I know we've hated onnon-linear structures because
if you don't know how to do it,you're going to mess up the
(24:24):
movie.
Yeah.
And personally, for me, I feellike it created a bit of
confusion rather like you know,emotional depth.
So, how do you feel?
Did the timeline help youconnect with characters, or did
it feel like the movie was, youknow, didn't jump in there off
no reason?
Steve (24:40):
I think okay, there've been films where I've been more
mad at it than in this one.
So I wasn't like very, very madat it.
Another thing is obviouslythese filmmakers are better than
me at making films.
That's why it's filmmakers,obviously.
So they're good.
They're good at what they'redoing.
Everybody isn't good, man, ateverything.
Like, some people are good atsome things and some people
aren't great.
And you kind of just expectsome people not to be so good at
(25:03):
it.
Like, if Nolan is doing a filmin a non-linear structure, I'm
like, okay, it's going to begood because he has that unlock.
Bruh, if she can't do it, shecan't do it.
She's gonna do her best, whichshe did, but like you just take
what you get.
So for me, I tried not to betoo mad at it.
I think, yes, to answer again,to answer your question, you
know what you're saying.
It takes away from some of thedevelopment or the character
(25:24):
development because I'm gettingthere with this person and
you're taking me back to thisplace, and it's like, okay.
But for some other people, itkind of adds a little bit.
Like seeing Pattinson's dad,for I don't even know
Pattinson's character's name,but seeing Pattinson's dad and
seeing what happened, right?
After when I did see it,instead of like obviously like
earlier earlier on or whatever,when the mom starts coming into
(25:48):
focus more, I'm like, okay, I'munderstanding why she is the way
she is.
And in certain other thingshappening with Jennifer
Lawrence's character, like Iactually start to feel some
empathy for her because like hercrash out, like one of her
crash outs is placed rightbetween the two times that we
see the dad, right?
Like early on when he's tryingto tie his shoes, and then the
(26:08):
later when they have the lowinteraction where he's holding
the belly and saying that's aboy, like her crash outs is like
sandwiching between that.
And I see I have empathy forher because she has empathy for
the dad.
I'm like, okay, I don't I'm notblaming her for some of these
things that she's doing.
I don't think she's an asshole.
Just because I've seen herinteract with that person, like,
you know, right there and then.
Um, yeah, and so I'm notblaming her.
(26:28):
I'm blaming PPD.
So I think that's the purposethat that's why they're placing
some of these scenes wherethey're placing it.
But then later on, when youknow the wedding and all of
that, like the wedding, and shewalks pushing the kids on the
road and they made and likethey're all thrown out of sorts
and out of order.
I'm like, yeah, no.
Because why?
(26:49):
Like, what's the point?
Like, what are you trying tosay?
You know what I mean?
Just take that story, stay withit, take another story, stay
with it, just stay with it, man.
Because we've alreadyestablished, we've already
developed your characters to thebest of your ability, clearly.
So just stick with it at thispoint.
So, yeah, yeah, I think thoselater stages did the characters
a disservice, and it doesn'tmake me feel like the character,
(27:11):
it doesn't make me feel likeJ-Law.
It doesn't make me feel likePattinson, it doesn't make me
feel like anybody that I'msupposed to, so I don't
understand why you're doing it.
Ofili (27:18):
Okay.
Yeah.
Okay.
So on a positive note, sincelet's let's not be too hatery.
I was gonna ask you so whichwhich performance stood out to
you the most out of everything?
Because you've talked aboutPatterson, you've talked about
J-Law, you raved about J-Law,actually.
And I didn't know that youreally liked the grandmother's
performance as well.
(27:38):
So how do you feel?
Steve (27:39):
I think obviously my answer is J-Law.
She's good, she's great.
I I I think she earned uh leadactress nomination in this film.
I would be very surprised tosee her not be nominated.
I don't think she's gonna win.
We're gonna save this for afuture podcast, but I want to
say loud and clear November14th, 2025.
Jessie Buckley is your nextAcademy Award for lead actress
(28:02):
for her performance in Hamnet.
So when that happens, rememberI said this.
But I think she did well enoughto earn her nomination.
So I she carries theperformance.
I saw Spencer with um Stewart,Kristin Stewart.
This reminded me a lot ofSpencer because it's a film
where obvious Pablo Larrain, weknow how Pablo Larrain films
tend to be.
But that was very much so onher back.
I felt like Die My Love, asignificant portion of it is on
(28:26):
her back.
So and we wouldn't feel thisway, like we wouldn't be sitting
here talking about this andthat and that if her performance
isn't good, you know what Imean?
But her performance is toogood, she overcommits to the
script, and she puts in a hellof a hell of a show, and that's
why we feel the way that wefeel.
Um, I don't think Pattinson'sperformance is particularly
(28:46):
great.
I know, like before a part ofthe press, he said like he took
choreography lessons fordancing, and I'm like, where is
it, man?
Like I know they did a little,you know, dance here and there,
but I don't really I didn'treally see it much.
And I think he's underutilized.
He's great, we know he's great,he's done a bunch of good
stuff.
(29:07):
But seeing him shoot innorthwestern um United States,
Montana, right next toWashington, where Twilight was
filmed, it just felt like browas taking a step back, man.
And like that thing with thewith the green, the color
gradient being like dark, kindof like how Twilight was.
I'm like, uh yeah, no, no,okay, okay.
Um, and then the themother-in-law or the
(29:28):
grandmother, depending on whosepoint of view you're looking at.
I thought she was fantastic,man.
I thought she was beyondfantastic.
And the scene, the very lastscene we see her on screen,
where they're at the comewelcome home party um for J
Jennifer Lawrence.
And Jennifer is like crashingout because everyone's asking
(29:50):
her, How are you?
How are you?
And she's pretending to be gooduntil like the last, you know,
okay, let's go.
Like Patinson is trying to takeher and be like, let's go.
And she just like pushes himaway and goes in the center of
the screen.
And she's yelling at everyone.
Um, and then the mother-in-lawsteps forward and she's like,
It's okay, it's okay.
Cheers, she raises a glass,and they cheers, and she's like,
May you live long and die out.
(30:10):
I was like, Yeah, bro, I wouldnot be mad at all if she gets
you know some acclaim from this,because it felt like she was
the balancer, she was like theshe was setting the tone, right?
For every single time thatJennifer would be on screen with
Jennifer and Jennifer would actout, she would like to calm her
down or she'd be her rock.
And that's because she had beenthrough something like this
before, which she shares withher early on.
(30:30):
So I really liked herperformance, and it kept
growing, kept building up onitself until like that scene
where it climaxed for me.
And I'm like, okay, I actuallyreally love her in this.
So yeah, those were the onlytwo for me that I felt great
about.
Ofili (30:43):
Okay, I think something I want to also talk about because
you keep talking about hercrashing out.
And I no, no, and I Idefinitely agree, but like I
know a lot of reviews and a lotof people were talking about how
they were confused about whatthis film was actually about,
because obviously postpartumdecline is like the major thing,
but there's also very heavythemes of like relationship
(31:06):
breakdown.
Is this like marriage storytype vibe between her?
Is it just like you know, theconstant crashing out, the
self-destruction?
Does does honestly apart fromPPD, is does she is she also
suffering from something elsepsychologically that's causing a
lot of this reckless behavior?
Steve (31:28):
So I'm gonna flip the question on you because you're
the one that's more um adept inyou know matters of the brain.
Are some of these thingsrelated?
Because you know, whensometimes people have anxiety,
uh, they also tend to havedepression and they also have to
like it just snowballs onitself.
Do you know if there's anylinks between you know PPD and
(31:51):
it affecting other?
Because obviously, most timesthat we see PPD, it's uh it's
one person, it's like you know,isolated to the to the woman,
and everyone else is like, Idon't know what to do about her,
da da da.
But do you think that leads tobecause obviously she was
hypersexual?
It wasn't like a case wherewhere in some other cases of PPD
that I've seen, it's lack ofyou know, they don't want to
(32:14):
have, you know, they feel veryasexual.
In this case, she was it wasbeyond hypersexual, and her
husband wasn't, you know, umreciprocating, instead, he was
finding that outside of thehouse.
So, yeah, my question for youis is there a link to that?
Ofili (32:30):
Unfortunately, I feel like I'd have to do a little bit
more research, but there islike I do know that there is a
comorbidity.
Okay, um, so comorbidity just Idon't know if you know what
comorbidity means, but let mejust give it an example.
So comorbidity just tends tomean like these things just kind
of develop together at somefucking time.
So happening concurrently.
So a really good example is howADHD has a comorbidity with
(32:55):
both anxiety and depression.
So you can have ADHD, which canmanif- manifest in depression,
okay, but also have depression,depression, and anxiety, so it
just kind of comes together.
So I feel like that could besomething that's going on here,
yeah.
But I'm also wondering did shehave pre-existing conditions
(33:17):
before PPD?
Okay, we don't get enoughcontext.
We don't know because it's notgrounded.
Exactly.
Yeah, and like there is like alittle inkling of things where
she's in the clinic and thetherapist is talking to her
about her about abandonmentissues and her pants dying when
she was 10, how at one point shewas almost kidnapped.
(33:37):
Yeah, well, I don't know if itwas almost kidnapped, maybe I'll
be dramatic.
But I recently watched thisshow called All Her Faults,
which is kind of just like aboutlike kidnapping like a four or
five-year-old, which is likewhat what happens here with her
being lost for hours and herparents getting very upset.
Steve (33:56):
Yeah, I like that you mentioned the scene because
after that scene, part of thewhole non-linear thing, they
show us when they go to thebeach as a reformed couple and
they just come, someone justcomes, like the kids come, you
want to play with the baby, andshe's like looking at him almost
like I was like, I could havebet money on it that she was
(34:18):
gonna crash out.
That was crazy.
She wish she was staring athim.
Yeah.
So I think like even though wesaw that happen a couple times,
when they wanted when he wantedto take them on the drive, when
they wanted to take her on thedrive, and she was like, she's
just not gonna leave the baby,and then when she comes back,
she runs to the baby.
So it sounds like there'sthere's a there's some
attachment, or rather, um, Idon't know if it's abandonment,
(34:39):
and I don't know if it's linkedto what happened with her
parents, but obviously she'sattached to this baby.
And in I think it's good thatin every single, again, I call
it a crash out because I don'tknow what a term to use, but in
every single crash out, theynever show the baby being
negatively affected, right?
Or they never showed the momintentionally harming the baby.
If anything, it's patentingthat she's like, go pick up your
(35:03):
child, or go, you know what Imean?
Like the dog is barking andbarking, and the baby's crying
because the dog is barking, andit's her that takes the dog out
and does what she does to thedog.
And so I feel like I love, Ilove that you can't, like,
there's no, you don't walk outof this room feeling like she
was a bad mother.
But all the other stuff, yeah.
I think I don't know the termthat you just use, cum mobility.
(35:23):
I do think that there's some,you know, like you said,
marriage theory.
I mentioned marriage theory inmy review.
Yeah, like there's arelationship, there's a
relationship breakdown here, andI think it's all sort of
linked.
Like there's something going onthere.
I just wish, again, that's whatI was asking if you knew, so
that would explain it a bitbetter since Ramsey chooses not
to.
I just wish there was some morecontext.
Like, all we know is that theymoved from New York, they moved
(35:45):
into this house that was left tothem by the father, right?
Uh, the uncle.
The uncle, the uncle, yeah.
And um, yeah, I wish there wasmore given to us.
Ofili (35:57):
Yeah, I just I definitely think there was more given to
us.
I feel like a lot happened toher in a short time.
So obviously, there's stressfulsituations from writer's block
and inconsistency with that kindof lifestyle, then moving to a
new place where you don't reallyhave family.
But she's also apparently neverreally had family since like
(36:18):
10.
So it's like a lot is going on,and you don't really know what
is the cause of this decline.
Steve (36:27):
Yeah, yeah, yeah.
Um, we can we can start toclose out.
I think another thing thisreminded me of is I Saw The TV
glow last year.
We didn't we didn't uh talkabout that on the podcast, but
that was another film where Ifelt very similar to this in
that it's important stuff we'retalking about in very important
subtext and context.
But the filmmaker, um,Schoenbrun in that case, is
(36:51):
being very, very defiant andpersistent in that we're not
gonna tell you, I'm not gonnatell you anymore.
I'm not going to show you anymore than I want to show you,
and you're going to take thataway from this.
And I don't know.
I think there's something tocommend there, I guess.
Like I might not enjoy it, Imight find it um, I don't want
to say boring because her accentis too electric to call it
(37:12):
boring, but I might not be tooenthralled by what is displayed.
But at the same time, both ofthose films, 24 hours, even 48
hours after it, I was stillthinking, man.
I was still like I wasrattling, I was very unrated.
The films were unnerving.
Um, I felt like they wereintentionally they were
intentionally and stubbornlyunnerving, but they succeeded in
(37:35):
that.
I was still thinking about itlong after I left the theater.
So good job to them, both ofthem.
Cinematography is inventive,the music is amazing, the
acting, especially Jenniferlearned, uh very electric stuff.
I wish that we had gone adifferent route, but ultimately,
like a lot of people,especially mothers, are loving
(37:55):
this.
Um and wives as well are lovingit.
So I'm glad it exists, man.
Like we need important subtextor cut or films with subtext
that people love.
You know what I mean?
We don't have to like it.
I hear you.
I hear you.
If people love it, that'sthat's enough for me.
Ofili (38:11):
Hey man, if they love it, we like it.
Okay, as you mentioned earlier,we're gonna close out right
now.
And this has been one of ourshorter episodes, but you know,
don't worry.
We have a loss of contentcoming for you guys up soon.
Steve, give us a rec to closeus out.
What's your what's your go-toright now?
Steve (38:31):
Man, you should not have asked me that because I'm about
to glaze.
But guys, I've just been givenlicense to glaze, so why not?
So earlier this year, we didour Oscar episode, and when they
asked me who my vote for bestactor was, I said, my current
working favorite actor,Chalamet.
So crazy that I said that outloud.
(38:51):
I was ashamed to say that a fewyears ago.
But um, man, guys, I don't wantto say, you know, we don't want
to be those guys that getexcited too early.
But if you're not invested, ifyou haven't purchased your
stocks, go all in right now.
I'm telling you right now, man.
Marty Supreme is going torewrite the entire landscape of
the year.
This is the big one, guys.
(39:12):
This is the big one.
I feel it in my bows.
I feel it in my bones, man.
This is the one.
So uh Christmas, Christmas Day,following his tradition of
Wonka and Complete Unknown, oraround Christmas, rather.
It's the big one.
I think that's the one.
I think that's going forward.
I think that's the one, evenmore than your Hamnet's and your
Park Chan.
I think this is the one.
Yeah.
(39:33):
Have you already no, youhaven't yet seen it though?
Ofili (39:36):
I haven't seen, I haven't seen it, I haven't seen
Supreme.
You're kidding me, bro.
That's what I said.
I'm gonna beat the gun, bro.
Okay, I believe.
Okay, I'm I'm gonna give thepeople a recommendation of
something that is currently out.
Okay.
So there actually two things.
So earlier I talked about AllHer Fault, the TV show that's on
Peacock.
You're going to love SarahSnook in that, you're going to
(39:59):
love uh Dakota Fanning in that.
Jay Ellis is also in that.
It's fucking good.
It's so good.
Okay, okay, it's so good.
Then um, the last thing I wantto talk about is Frankenstein.
That is also pretty good.
Oscar Isaac does a great jobthere.
Oh, okay.
Okay.
And wait, with Elordi.
Steve (40:19):
Okay, that's what I was going to ask you.
So let's cut you off.
We did talk about that one, andI haven't seen it.
Yay or nay?
I'd say it's a it's a yay.
Okay.
Ofili (40:28):
It's not a yay, but it's a yay.
You know, Guillermo del Toro isgonna find you another like 6'4
attractive looking person, makethem and make them a monster
woman wanna fuck.
Like it's kind of weird.
It's it's so weird.
But the people are saying he'swashed man.
I mean, I feel like the problemis that he's he's the he did
(40:51):
salt burn, he's doing this.
This is okay, but Saltburn andhe's going to do Wuthering
Heights.
So it's just kind of like wedon't know if you're trying to
do a ser you're are you aserious actor, basically.
Okay, okay.
You're a serious guy, you know.
Steve (41:05):
Okay, okay.
Ofili (41:06):
Fair enough.
Yeah.
All right, ladies and gentlemen,this has been another episode
of the Cinephile's Aisle.
I hope you guys enjoy thisepisode.
Should be coming out prettysoon.
Have a great day.
Steve (41:18):
Have a good one.
All right, ladies and gentlemen, welcome to another
episode of the Cinephile'sAisle.
It is Ofili and McSteve today.
How you doing, bro?
Steve (00:38):
I'm doing good, bro.
It's snowing in Toronto, whichwe're in the second week of
November.
So that's a very, very big jumpscare.
I wasn't expecting that.
But you know, we're thriving.
SAD came earlier this year.
What can we do?
Just gotta be sad for the nextsix months.
Ofili (00:55):
You know what's crazy?
I was thinking the same thing.
I was like, it so it snowed inChicago like last week.
Okay.
I or was it like Tuesday?
And I was like, yo, does itnormally slow around this time?
Is it this feels this feels alittle bit early?
People started telling me itsnows almost every year around
Halloween.
Steve (01:13):
And for some reason I didn't pay attention, but yeah.
But it's crazy.
I just wasn't expecting that.
I wasn't here this time lastyear in Toronto.
In New York, it wasn't snowing.
I talked to my New York coworkers, you're like, yeah, it's
not snowing.
We're good though.
We're doing good.
This is the time of the year.
I feel like I say this everytime we record around this time,
but all the quote unquotereally good films start to come
out, and you're like, Oh, Idon't have enough time for this.
Ofili (01:35):
It's Cinephile bag.
Cinephile bag, man.
Cinephile bag, bro.
Steve (01:40):
Award season torture.
Ofili (01:42):
We love it.
But like I tell everyone ifyou're doing an on-again, off
again cycle for AMC, it'sOctober, November that you
start, you get it on.
Cancel is in January, they banyou for six months.
You pick it back up in June.
Steve (01:57):
Yeah.
Oh man.
But we've got it some goodstuff this year, you know?
And it's been a good year.
So I'm gonna read a couplereviews for some of the films
that we've seen this year.
And I want you to try and guesswhat films they are.
Ofili (02:08):
Okay, fair enough.
Are these going to be like ourreviews?
Like, are you reading from likemy Letterboxd?
Steve (02:13):
No, just random letterboxd, just random
letterboxd reviews that Ithought were pretty funny.
First one for busy movie fanseverywhere, you can rest easy
because I can confirm that youdon't have to watch the first 16
films to enjoy this one.
Ofili (02:28):
I feel like this is like Fast and Furious is not 16.
Oh, MCU stuff.
It's it's something that's nono no.
Steve (02:35):
It's it's a film that came out this year.
Ofili (02:37):
It's a film that came out this year.
Steve (02:38):
Yeah, it's an only 2025 film.
You don't have to watch thefirst 16 films to enjoy this
one.
Ofili (02:45):
Oh, Mickey 17.
Okay, yeah, yeah.
Mickey 17.
Mickey 17.
I thought that was funny.
Steve (02:49):
Yeah, that was funny.
Um, this one just says, fine,I'm gonna kidnap and torture
Jeff Bezos.
Ofili (02:57):
Okay, that is BUGONIA.
That is BUGONOIA.
Damn, you're good with you'regood at this.
Yeah, I feel like this has beenreally fun.
This has been really good.
It's for sure been a reallygood year for movies.
Steve (03:09):
Fair enough.
But no, it's been a really goodyear.
I'm not gonna lie.
2024 was not that strong.
I was looking at the nomineesfor best director, and he had
like Sean Baker and theBrutalist and the Substance and
stuff like that.
I'm like, okay, we could havedone better.
But this year is good, and Ithink next year is even going to
be crazier.
Strong end, strong close to theyear that we're having so far.
Ofili (03:30):
Yeah, isn't the I can swear the Passion of Christ
movies coming out next year.
Whoa, there's a Passion ofChrist, you know that there's
like a new Passion of Christ.
I didn't even know what thechange in the story is.
We know how it ends.
Mel Gibson.
I don't know if it's MelGibson, but I feel like there's
a second Passion of Christthat's coming out next year.
And I think Scorsese is doingsomething religious, though.
I know Scorsese is doing areligious thing.
Steve (03:51):
Okay, okay.
Ofili (03:52):
Should be coming out next year.
We know the Odyssey is comingout next year.
Steve (03:56):
Yeah.
Yeah.
And then if you're an MC, ifyou're a comic book fan, next
year is the year.
It's the it's the repeat of2018.
We have our next super, superbig, super sized film since
Endgame, um, Doomsday.
So yeah, that's a big one.
Ofili (04:13):
I mean, I I really doubt it's going to beat Edge of
Tomorrow or Man of Tomorrow.
Man of Tomorrow, my bad.
Steve (04:19):
It is absolutely going to affiliate comeback.
I I don't think so.
I really don't think so.
Bro, so I think I was talkingto my friend about this.
I think the thing is we go, wego in phases, right?
No pun intended, even thoughthe MCU has phases.
But we've just come out of avery bad phase.
We've come out of a phase wherepeople thought that Marvel
films were going to die, right?
And we're on the high rightnow, and the box office tends to
(04:41):
follow, and the quality alsotends to follow those phases.
So since we're bad, you knowthis every film that was coming
out was bad.
I don't know why or how, but itwas just all bad.
And now they're good.
Yeah, and now they're good, andevery film that's coming out is
good, you know what I mean?
And the crescendos, thecrescendo's, and I think
doomsday stuff.
What do you mean?
(05:02):
They've all been good.
If you ignore that BlackCaptain America one, we don't
talk about that one.
They've all been good.
Ofili (05:08):
So they've they've been they've been better.
They've been better, they'vebeen good, they've been better
than the last like four years.
Like, you know, as a United, Ifeel like as a United fan, you
know, this last like three gameswhere we were like we were like
second on the table for alittle bit.
We were like, oh yeah, we mightbe winning the title.
(05:30):
I said, Well, just better thanwe've been recently.
It doesn't mean we're one ofthe best.
Steve (05:36):
Unfair one player of the month, and the United coach one
coach of the month.
You guys are good.
Like, you can just take that,right?
And I think it's the same thingwith Feige and his his his
universe right now, and the guysdown the street too, DC,
they're doing great stuff too,you know.
Ofili (05:50):
So I hate that you're saying DC, they're doing great
stuff, like they're not the onecornering the market, big dog.
What do you mean?
In all kinds, like I feel likethey're they're beating, they're
beating the boys, they'rebeating Marvel to a pulp.
Like the Sean Gun universe isliterally dominating.
Steve (06:10):
This is their biggest, like, this is as big as it gets.
Ofili (06:13):
They started off with the bang, we're starting off with
supporting characters.
I don't think okay, man.
You're gonna be able to get it.
You're forgetting Lance comesout next year.
Steve (06:22):
It's not going to beat Superman.
Super Girl is also not gonnabeat Superman, like nothing that
they're going to come out with,except obviously Batman film,
is going to beat Superman.
Ofili (06:30):
No, I disagree.
I okay, okay.
I feel very much that you willbe shocked when it's time.
Steve (06:36):
Okay.
Well, um, yeah, speaking of2025 and the good, you know,
there's some that haven't beenso great, some that we really
wanted to be great.
And today we're gonna talk abit about one of those films.
Um, directed by Lynne Ramsay,produced by Martin Scorsese and
Jennifer Lawrence.
(06:57):
It's the independent film fromMubi.
Well, it was acquired by Mubifor 24 million, their largest
purchase to date.
Um, it's called Die My Love.
And how are we feeling aboutDie My Love Ofili?
Ofili (07:11):
I think that's very interesting that you started off
with like talking about weexpected this to be good or we
wanted this to be good.
I did not.
I very much did not.
And it's hilarious.
I as soon as I started seeinglike produced by Scorsese
everywhere, I was like, nah,nah, nah, nah, nah, nah.
You fooled me one time withthat him movie when it was like
(07:35):
produced by Danny Peeleverywhere.
No, you can't run this on metwice.
Oh come on, come on.
Steve (07:43):
I think for being a bit disingenuous there.
I thought it was or maybe it'sjust me.
I thought it was gonna be good,and I thought it was gonna be
good for two reasons.
One, it was on this podcast,this very podcast, that we
talked about the current filmstars, like the big movie stars
right now, right?
Yeah, we're talking about howyou know Tom Cruise is the last
great one, but we have a newbatch coming up.
And we said Pattinson was amovie star, like that was the
(08:05):
consensus on here.
J Law took time away from thebig screen because she had a
kid, she got she went throughsome form of PPD, not this form,
but she went through somestuff, so she took time out.
But she's but like if you goback to 2014, I would make the
claim that she was the biggestactress in the world, like
during the Hunger Games and umSilver Lining's playbook and all
of that.
(08:26):
She was pretty big.
So I think I don't know aboutthat.
No, I I I think there's a claimto be made.
There is a claim to be made.
Ofili (08:33):
Obviously, you had I think in in some spaces, like in
some in some YA young adultspaces for sure.
Steve (08:39):
Some YA spaces, yeah.
Yeah, yeah, for sure.
But I think like when you haveJ Law and Pattison, and then you
have like the producing teamthat you have, we were expecting
this to be good, or we werehoping at least that it would be
good.
The press had them, you know,tugging on the strings of some
old rom com, you know, presseswhere they're making jokes and
they're hugging and kissing, notkissing, but like, you know,
(09:01):
poking at each other's personallife and stuff like that.
So they marketed this like itwas going to be one of those.
I'm not even kidding.
And before the film even cameout, we already saw critics
calling her calling for her tobe nominated for um best actress
in the Oscars.
So uh walking into the theater,I walked in, it was limited
release, so which probablyplayed into this.
(09:22):
But when I got there, it waspacked.
I sat in a very front rowbecause of how packed it was,
you know what I mean?
And so I think my entireaudience was hoping for this to
be good, to be good.
Um yeah, so that's why I thinkthat's why I think we're hoping
for it or expecting it to begood.
Ofili (09:37):
I think we lived very different lives.
I'm not gonna lie.
Because I first of all I feellike you should never know some
finer details when things aregonna be really good.
You never know some finedetails of things.
Like you can, you know, youknow, Barcelona is kind of you
know it's kind of shaky, alittle shit right now, because
(09:57):
you know who like Barcelona B'scoach is.
You know, you know names thatyou should not be knowing.
But I'll stood there like youknow who you mean, what is like
you know what I mean?
Fair point, you got a fairpoint.
I can name like six peopleapart from the coach that like
the man is not slaughter, andyou should never know that.
(10:19):
Yeah, like okay, that's fair.
So that's that's that's anexample.
So and then to apply it herefor me, it's like thinking about
the producers.
Like, I don't think I shouldever really know who the
producer of a film is.
If the movie is going to bebanger like that, yeah, they
don't need to highlight that.
The film should the trailershould carry itself.
(10:39):
Okay, the stars should carryitself.
And like when I I think like ittook me out when you were like,
um, you said the producers uhlike big star producers,
Scorsese, and you know, and Iwas like, the other producer in
the film is J Law.
Yes, like it is her.
Steve (10:59):
When is she a star producer?
No, no, she's owned aproduction company for a bit of
time now.
I think she's produced a few.
No, she has, no, it's not shehas she has she has she's not a
big producer, like that's nother thing, right?
She's an actress, but she'sproduced a few.
Fair enough.
Ofili (11:18):
Yeah, I'm going to think about my thoughts going into
this movie or expecting thismovie.
I I watched it on a Thursday, Ibelieve.
Or no, probably like what noTuesday, Tuesday or Wednesday.
It was like right after work.
Um it was chill.
I did not have a packed cinema,even though it was a Wednesday
(11:38):
typically for and like this islike first week release.
So normally it should stretchthroughout the week.
My cinema had like five peopleapart from me.
Oh wow, yeah.
What we do live very differentlives.
That's what I said.
Five people apart from me.
So there was, and I heardnothing going into this week
about this movie.
I completely forgot about this.
(11:59):
So I was just like, Oh, this iscoming up on AMC, so let me
just go watch this.
And I was like, Oh yeah,Patterson's in it as well.
So I yeah, I want to I want towatch that, I want to enjoy
that.
So when going into the film, Iexpected something grounded and
intentional about and like youknow, reading the the reviews a
(12:19):
little bit plus like you know,just the synopsis of the movie.
You know, you understand themovie is about psychological
unraveling, and you know, it'sabout postpartum, yeah.
And I expected something closerto, and I wrote this in my
letterbox review, but I expectedsomething much closer to like
the yellow wallpaper, and that'sa book by Perkins that deals
(12:40):
with the same premise of like ayoung woman like losing her
mind, yeah.
And I think one of the bestexamples of someone losing their
mind in film, and like thatslightly different topic was
dementia, but it was likeAnthony Hopkins and the father,
and like I kind of felt likethis was where we were going.
Steve (13:02):
You're calling you're calling the literal bazooka,
like you're calling he won hewon the very award for the
depiction of that, but okay, Iget what you mean.
Ofili (13:13):
Yeah, but like what are we if we're not meant to learn
from the past?
Yeah, the standards are meantto change each year because we
have more things to pull from.
So I expected this, especiallywhen she recently also the
press.
I'm disgusted by the pressbecause the way they're having
fun, and you're thinking this islike some sweet little
rom-coming in to watch.
Steve (13:35):
I'm like, are these people insane?
I think it's very insightfulfor you to mention the father.
And what the father does reallywell for me, at least, is it
puts us in the seat of the leadactor, like it puts us in
Hopkins' character, and to thepoint where you start to
question, am I losing my mind?
You know, what I mean.
You can hate the film, you cannot like certain things about
(13:57):
the film.
Yeah, you can hate the the wayit chooses to tell the story.
Well, everybody understoodexactly what he was going
through, right?
He takes us through hisjourney.
I feel like Die My Love at nopoint cares to let us know how
she's feeling.
And I don't even think I thinkit does the character itself a
disservice by not even lettingher know how she's feeling.
(14:21):
You know what I mean?
Like, obviously, we know thatshe's going through stuff, we
know that she's going throughstuff, but it's it's never
mentioned, it's never addressedhead on, right?
And they kind of make it feellike she's just throwing
tantrums and wanting to getwanting to have sex and wanting
to wanting to her little urgesto be satisfied in that moment
as opposed to actually liketaking time to go through what
(14:42):
it is that she's going throughand why how she's feeling.
So yeah, I just I just didn'tthink about it like that.
Ofili (14:49):
I hear what you're saying, and you know, I
understand it's very much likebringing up the father again is
very much like hydrogen bombversus coughing baby.
Right.
But but looking at this film, Iactually disagree.
I think they try to show uswhat her descent into madness is
and what her feelings are, butthey do a poor job, they do a
(15:13):
really poor job, and one of theeasiest scenes is the
hallucinations because you'realso there, like they you're
like, I don't get the purpose ofthis.
Like you you almost feel likeLakeith is in a perfume ad.
Yes, absolutely, yes.
Steve (15:30):
With the whole motive, like the mode by girl of now,
it's just like yeah.
Yeah, I thought he was Ithought he was a real character.
Like, you already wanted toexplain that to me.
Um, for listeners that feelexplain it to me offline, but I
genuinely thought he was a realcharacter that she was having
real interactions with untilafter like the first time that
they actually interact onscreen, she makes him cut his
(15:53):
lip with a knife until the nexttime I see him, I'm like, your
lip is healed.
How is that happening like howis that possible?
Like, where's the blood?
Where's the injury?
And you know what?
So I think, and plus like whenthey go to his house and stuff
like that.
And so I don't realize, andmaybe I'm just media illiterate,
maybe that's the problem, but Idon't even think the film does
a good job of explaining that.
Like, it seems like everyonethat understood his reference or
(16:16):
the purpose that he serves onscreen read the book or they
knew something about it.
I went in completely blind.
I didn't see a trailer, didn'tread the synopsis, didn't know
any review.
And I like to do that for filmsthat I'm actually excited to
see.
I've set that on the podbefore.
That's right.
Well, I completely had no idea,like, no, I didn't understand.
And so I'm like, okay, withtime, there's going to be some
(16:36):
resolution, as typically thereis with uh narratives.
There wasn't any resolution forhis character or for that
storyline, you know what I mean?
And I'm just like, yeah.
Let's let's let's let's talkabout something that I really
liked super early on.
Um okay, so she wakes up in themiddle of the night, she goes
to breastfeed the baby, she'sbreastfeeding the baby, and then
(17:00):
puts the baby to sleep, walksback to her husband's
workstation or her workstation.
Sorry, she's in she's awriter's, but it seems like they
paint.
And then some of the breastmilk dips onto the canvas, and
she takes like black paint andshe's sprinkling it on
sprinkling it on it.
So the black from the blackpaint and the white from the
breast milk mix, and then wetransition to the night sky,
(17:22):
like the milk being the starsand the black paint being the
night sky, and then transitionsinto Pattinson's face because
he's looking at the night skythrough his telescope.
And I'm like, bro, I literallydid the lean in lean in my feet
because I'm like, okay, and thisis very early on.
So I'm like, okay, we'recooking with gas.
You know what I mean?
Like, we're we've touched theand I know that Lynn is a
cinematographer.
I know that's that's herprofession by by craft, or
(17:44):
that's a craft by um training.
So I know, okay, you know, I'mexpecting some great things.
And the cinematography is good.
I'm not gonna take that awayfrom the film.
Like it's pretty inventive, thecamera work and stuff like
that.
And like even before we get tothat god tier transition, I had
noticed that almost every timethat we're looking at um the
characters, we're we're lookingat them from behind something.
(18:05):
At the very start, we'relooking at them behind pillars,
right?
Like we're three pillars awayand we're watching them
interact.
When we're looking at thehusband, it's usually from
behind a counter or behind atable or something like that.
Like when we're looking at bothat the mom, at the mom-in-law
and Jennifer, it's from behindthe kitchen wall.
So it's a lot of a lot of thatis happening, and there's
mirrors as well.
We're looking at them throughmirrors or through like windows
(18:27):
and stuff like that.
But ultimately, it meansnothing.
Like I'm waiting for it to jumpout to me and what the meaning
is and what the significance is,and it just comes to mean
nothing.
And I wanted to talk about theother thing that ultimately
doesn't really mean anythingbecause you said it in your
review, but there's it's arecurring theme.
It's like the crawling, it's arecurring theme, and it's like,
yo, like, and so at the end,again, I'm giving it patience,
(18:50):
like um Lakeith's character, thethe camera behind behind layers
and the the cinematography, thecamera work.
I'm I'm giving it patient, I'mwaiting for it to end to see
what it all means, butultimately it comes to nothing.
There's a thin line betweenshowing something oftentimes or
over and over again, so that theaudience can be intelligent
(19:10):
enough to pick it up as a okay,this is a theme thematically,
this is what it means.
And then there's the other sideof it where maybe I don't know
what else to do here, and so I'mjust gonna keep the scene.
And unfortunately, man, thisfilm just feels like the latter,
unfortunately.
Ofili (19:27):
Yeah, I think um to to start off with like
acknowledging the same shot thatyou said, that shot, I was
like, that is cooking.
Because even before it mergesinto because he's like spraying
the ink and like the fresh milkand then drips, and before it
merges into the transition tothe night sky and to Pattinson
looking through the telescope,it starts to look like a Rochard
(19:50):
painting.
Yes, yes, yes, yes, where youknow, when where you're like
genuinely like this is what theyuse, or what they use very
popularly in psych words andjust like in psychology
treatment, just to what are youseeing, and just like subliminal
messaging, all of that, all ofthat Freud stuff, and um it's
(20:11):
just it's insane because again,I was like, Oh, that was that's
cool, you know.
That's cool.
That's just it was kind ofstuff.
You're like, oh, that's cool.
Yeah, it was cool.
Oh, that looks good.
Like, like, there's one thingyou can't say is that the film
did not look good, it did, itgenuinely did.
(20:34):
Very quickly, you're like, Ican't take this anymore.
It is like, and I really lovethe part that you echoed in my
review, which is that the filmis both overstuffed and
underdeveloped at the same time,yeah, yeah.
And that is that's the that'sdie my love.
(20:56):
Die my love is overstuffed andunderdeveloped at the same time,
yeah.
And to build off of that, Iwanted to talk about one of the
like the main themes of thefilm.
I was wondering how you feelbecause for me, it's like I feel
like they went into this filmunderstanding that postpartum
(21:16):
decline is like very real, verypainful.
And you know, we we talkedabout Jennifer Lawrence having
you know, having a child andmaybe potentially expensive
postpartum depression.
I feel like the film relies abit too much on that real world
connection instead of earning itthrough strong storytelling.
Do you feel like the topic wasdoing the heavy lifting while
(21:41):
the actual storytelling wassuffering?
Steve (21:45):
I I think two things.
So, yes, the topic is doing theheavy lifting, but that's
that's intentional.
It's a there's a thesisstatement that it's sure, it's a
narrative, but like there's athesis that's building itself
around, right?
PPD, and we're exploring PPDthrough non-judgmental eyes, at
least we're supposed to as theaudience.
But I think the acting is alsodoing some heavy lifting.
(22:05):
So, like the storytelling forme is suffering from obviously
the topic and the acting beingvery, very good.
Like, you're in awe a lot oftimes from J Law's nonsensical
theatrics, right?
You're Jack, oh, she's reallycommitting to it.
But it's not giving me enoughtime to like I'm not able to
(22:25):
fully focus on what the on whatthe the plots or the different
acts or what they're what'shappening narratively.
I'm actually, I think in a fewmonths I'm gonna forget a lot of
the different scenes and whatthey ultimately come to mean.
You know what I mean?
Because like it's not it'sunder it's underdeveloped, like
you said, and it's not allowingitself to actually grow and
develop in real time becauseevery other every other minute
(22:47):
or every other, you know, it'sthrowing us back to PPD, you
know, it's throwing us back toum our lead heroin throwing a
fit or complaining aboutsomething, rightfully so.
So it keeps bringing, and everytime there's another subplot
about to develop, especiallywith the mother-in-law, which I
really like that performance.
Oh my god, it's so good.
Ofili (23:06):
That was so good.
Steve (23:07):
Every time a new subplot is about to develop, you know,
okay, we go to her house andwe're actually like experiencing
her pain, and she's just losther best friend, and she's
confused and sleepwalking.
They find their way to throw itback to her, right?
Like they're in the kitchentalking about her pain, and they
ask her, How are you doing?
and she walks out.
She's walking around, she'swalking at night with a gun, and
she comes herself too, right?
And in that same shot, it goesback to the house, to the to
(23:32):
J-Law, walking out of the houseand going into the field.
It's like we're never evenallowed to let anyone else's
story develop.
We don't husband might becheating on her.
Maybe let's look at this alittle bit more.
Nope, we're gonna go back tothe mom.
And again, that's the thesis.
So, yes, to answer yourquestion, it's a thesis, even
though it's a narrative, there'sa thesis being explored here.
So, unfortunately, we have tostay on that, we have to focus
(23:54):
on that.
It's just as a as a result,like you know, storytelling
suffers because of that reason.
Ofili (24:01):
That's fine, yeah.
I think something that you alsomentioned was how they jumped
back and forth quite a bit, justso that they could focus on
their thesis.
How do you feel about thenon-linear structure of the
film?
And like, I know we've hated onnon-linear structures because
if you don't know how to do it,you're going to mess up the
(24:24):
movie.
Yeah.
And personally, for me, I feellike it created a bit of
confusion rather like you know,emotional depth.
So, how do you feel?
Did the timeline help youconnect with characters, or did
it feel like the movie was, youknow, didn't jump in there off
no reason?
Steve (24:40):
I think okay, there've been films where I've been more
mad at it than in this one.
So I wasn't like very, very madat it.
Another thing is obviouslythese filmmakers are better than
me at making films.
That's why it's filmmakers,obviously.
So they're good.
They're good at what they'redoing.
Everybody isn't good, man, ateverything.
Like, some people are good atsome things and some people
aren't great.
And you kind of just expectsome people not to be so good at
(25:03):
it.
Like, if Nolan is doing a filmin a non-linear structure, I'm
like, okay, it's going to begood because he has that unlock.
Bruh, if she can't do it, shecan't do it.
She's gonna do her best, whichshe did, but like you just take
what you get.
So for me, I tried not to betoo mad at it.
I think, yes, to answer again,to answer your question, you
know what you're saying.
It takes away from some of thedevelopment or the character
(25:24):
development because I'm gettingthere with this person and
you're taking me back to thisplace, and it's like, okay.
But for some other people, itkind of adds a little bit.
Like seeing Pattinson's dad,for I don't even know
Pattinson's character's name,but seeing Pattinson's dad and
seeing what happened, right?
After when I did see it,instead of like obviously like
earlier earlier on or whatever,when the mom starts coming into
(25:48):
focus more, I'm like, okay, I'munderstanding why she is the way
she is.
And in certain other thingshappening with Jennifer
Lawrence's character, like Iactually start to feel some
empathy for her because like hercrash out, like one of her
crash outs is placed rightbetween the two times that we
see the dad, right?
Like early on when he's tryingto tie his shoes, and then the
(26:08):
later when they have the lowinteraction where he's holding
the belly and saying that's aboy, like her crash outs is like
sandwiching between that.
And I see I have empathy forher because she has empathy for
the dad.
I'm like, okay, I don't I'm notblaming her for some of these
things that she's doing.
I don't think she's an asshole.
Just because I've seen herinteract with that person, like,
you know, right there and then.
Um, yeah, and so I'm notblaming her.
(26:28):
I'm blaming PPD.
So I think that's the purposethat that's why they're placing
some of these scenes wherethey're placing it.
But then later on, when youknow the wedding and all of
that, like the wedding, and shewalks pushing the kids on the
road and they made and likethey're all thrown out of sorts
and out of order.
I'm like, yeah, no.
Because why?
(26:49):
Like, what's the point?
Like, what are you trying tosay?
You know what I mean?
Just take that story, stay withit, take another story, stay
with it, just stay with it, man.
Because we've alreadyestablished, we've already
developed your characters to thebest of your ability, clearly.
So just stick with it at thispoint.
So, yeah, yeah, I think thoselater stages did the characters
a disservice, and it doesn'tmake me feel like the character,
(27:11):
it doesn't make me feel likeJ-Law.
It doesn't make me feel likePattinson, it doesn't make me
feel like anybody that I'msupposed to, so I don't
understand why you're doing it.
Ofili (27:18):
Okay.
Yeah.
Okay.
So on a positive note, sincelet's let's not be too hatery.
I was gonna ask you so whichwhich performance stood out to
you the most out of everything?
Because you've talked aboutPatterson, you've talked about
J-Law, you raved about J-Law,actually.
And I didn't know that youreally liked the grandmother's
performance as well.
(27:38):
So how do you feel?
Steve (27:39):
I think obviously my answer is J-Law.
She's good, she's great.
I I I think she earned uh leadactress nomination in this film.
I would be very surprised tosee her not be nominated.
I don't think she's gonna win.
We're gonna save this for afuture podcast, but I want to
say loud and clear November14th, 2025.
Jessie Buckley is your nextAcademy Award for lead actress
(28:02):
for her performance in Hamnet.
So when that happens, rememberI said this.
But I think she did well enoughto earn her nomination.
So I she carries theperformance.
I saw Spencer with um Stewart,Kristin Stewart.
This reminded me a lot ofSpencer because it's a film
where obvious Pablo Larrain, weknow how Pablo Larrain films
tend to be.
But that was very much so onher back.
I felt like Die My Love, asignificant portion of it is on
(28:26):
her back.
So and we wouldn't feel thisway, like we wouldn't be sitting
here talking about this andthat and that if her performance
isn't good, you know what Imean?
But her performance is toogood, she overcommits to the
script, and she puts in a hellof a hell of a show, and that's
why we feel the way that wefeel.
Um, I don't think Pattinson'sperformance is particularly
(28:46):
great.
I know, like before a part ofthe press, he said like he took
choreography lessons fordancing, and I'm like, where is
it, man?
Like I know they did a little,you know, dance here and there,
but I don't really I didn'treally see it much.
And I think he's underutilized.
He's great, we know he's great,he's done a bunch of good
stuff.
(29:07):
But seeing him shoot innorthwestern um United States,
Montana, right next toWashington, where Twilight was
filmed, it just felt like browas taking a step back, man.
And like that thing with thewith the green, the color
gradient being like dark, kindof like how Twilight was.
I'm like, uh yeah, no, no,okay, okay.
Um, and then the themother-in-law or the
(29:28):
grandmother, depending on whosepoint of view you're looking at.
I thought she was fantastic,man.
I thought she was beyondfantastic.
And the scene, the very lastscene we see her on screen,
where they're at the comewelcome home party um for J
Jennifer Lawrence.
And Jennifer is like crashingout because everyone's asking
(29:50):
her, How are you?
How are you?
And she's pretending to be gooduntil like the last, you know,
okay, let's go.
Like Patinson is trying to takeher and be like, let's go.
And she just like pushes himaway and goes in the center of
the screen.
And she's yelling at everyone.
Um, and then the mother-in-lawsteps forward and she's like,
It's okay, it's okay.
Cheers, she raises a glass,and they cheers, and she's like,
May you live long and die out.
(30:10):
I was like, Yeah, bro, I wouldnot be mad at all if she gets
you know some acclaim from this,because it felt like she was
the balancer, she was like theshe was setting the tone, right?
For every single time thatJennifer would be on screen with
Jennifer and Jennifer would actout, she would like to calm her
down or she'd be her rock.
And that's because she had beenthrough something like this
before, which she shares withher early on.
(30:30):
So I really liked herperformance, and it kept
growing, kept building up onitself until like that scene
where it climaxed for me.
And I'm like, okay, I actuallyreally love her in this.
So yeah, those were the onlytwo for me that I felt great
about.
Ofili (30:43):
Okay, I think something I want to also talk about because
you keep talking about hercrashing out.
And I no, no, and I Idefinitely agree, but like I
know a lot of reviews and a lotof people were talking about how
they were confused about whatthis film was actually about,
because obviously postpartumdecline is like the major thing,
but there's also very heavythemes of like relationship
(31:06):
breakdown.
Is this like marriage storytype vibe between her?
Is it just like you know, theconstant crashing out, the
self-destruction?
Does does honestly apart fromPPD, is does she is she also
suffering from something elsepsychologically that's causing a
lot of this reckless behavior?
Steve (31:28):
So I'm gonna flip the question on you because you're
the one that's more um adept inyou know matters of the brain.
Are some of these thingsrelated?
Because you know, whensometimes people have anxiety,
uh, they also tend to havedepression and they also have to
like it just snowballs onitself.
Do you know if there's anylinks between you know PPD and
(31:51):
it affecting other?
Because obviously, most timesthat we see PPD, it's uh it's
one person, it's like you know,isolated to the to the woman,
and everyone else is like, Idon't know what to do about her,
da da da.
But do you think that leads tobecause obviously she was
hypersexual?
It wasn't like a case wherewhere in some other cases of PPD
that I've seen, it's lack ofyou know, they don't want to
(32:14):
have, you know, they feel veryasexual.
In this case, she was it wasbeyond hypersexual, and her
husband wasn't, you know, umreciprocating, instead, he was
finding that outside of thehouse.
So, yeah, my question for youis is there a link to that?
Ofili (32:30):
Unfortunately, I feel like I'd have to do a little bit
more research, but there islike I do know that there is a
comorbidity.
Okay, um, so comorbidity just Idon't know if you know what
comorbidity means, but let mejust give it an example.
So comorbidity just tends tomean like these things just kind
of develop together at somefucking time.
So happening concurrently.
So a really good example is howADHD has a comorbidity with
(32:55):
both anxiety and depression.
So you can have ADHD, which canmanif- manifest in depression,
okay, but also have depression,depression, and anxiety, so it
just kind of comes together.
So I feel like that could besomething that's going on here,
yeah.
But I'm also wondering did shehave pre-existing conditions
(33:17):
before PPD?
Okay, we don't get enoughcontext.
We don't know because it's notgrounded.
Exactly.
Yeah, and like there is like alittle inkling of things where
she's in the clinic and thetherapist is talking to her
about her about abandonmentissues and her pants dying when
she was 10, how at one point shewas almost kidnapped.
(33:37):
Yeah, well, I don't know if itwas almost kidnapped, maybe I'll
be dramatic.
But I recently watched thisshow called All Her Faults,
which is kind of just like aboutlike kidnapping like a four or
five-year-old, which is likewhat what happens here with her
being lost for hours and herparents getting very upset.
Steve (33:56):
Yeah, I like that you mentioned the scene because
after that scene, part of thewhole non-linear thing, they
show us when they go to thebeach as a reformed couple and
they just come, someone justcomes, like the kids come, you
want to play with the baby, andshe's like looking at him almost
like I was like, I could havebet money on it that she was
(34:18):
gonna crash out.
That was crazy.
She wish she was staring athim.
Yeah.
So I think like even though wesaw that happen a couple times,
when they wanted when he wantedto take them on the drive, when
they wanted to take her on thedrive, and she was like, she's
just not gonna leave the baby,and then when she comes back,
she runs to the baby.
So it sounds like there'sthere's a there's some
attachment, or rather, um, Idon't know if it's abandonment,
(34:39):
and I don't know if it's linkedto what happened with her
parents, but obviously she'sattached to this baby.
And in I think it's good thatin every single, again, I call
it a crash out because I don'tknow what a term to use, but in
every single crash out, theynever show the baby being
negatively affected, right?
Or they never showed the momintentionally harming the baby.
If anything, it's patentingthat she's like, go pick up your
(35:03):
child, or go, you know what Imean?
Like the dog is barking andbarking, and the baby's crying
because the dog is barking, andit's her that takes the dog out
and does what she does to thedog.
And so I feel like I love, Ilove that you can't, like,
there's no, you don't walk outof this room feeling like she
was a bad mother.
But all the other stuff, yeah.
I think I don't know the termthat you just use, cum mobility.
(35:23):
I do think that there's some,you know, like you said,
marriage theory.
I mentioned marriage theory inmy review.
Yeah, like there's arelationship, there's a
relationship breakdown here, andI think it's all sort of
linked.
Like there's something going onthere.
I just wish, again, that's whatI was asking if you knew, so
that would explain it a bitbetter since Ramsey chooses not
to.
I just wish there was some morecontext.
Like, all we know is that theymoved from New York, they moved
(35:45):
into this house that was left tothem by the father, right?
Uh, the uncle.
The uncle, the uncle, yeah.
And um, yeah, I wish there wasmore given to us.
Ofili (35:57):
Yeah, I just I definitely think there was more given to
us.
I feel like a lot happened toher in a short time.
So obviously, there's stressfulsituations from writer's block
and inconsistency with that kindof lifestyle, then moving to a
new place where you don't reallyhave family.
But she's also apparently neverreally had family since like
(36:18):
10.
So it's like a lot is going on,and you don't really know what
is the cause of this decline.
Steve (36:27):
Yeah, yeah, yeah.
Um, we can we can start toclose out.
I think another thing thisreminded me of is I Saw The TV
glow last year.
We didn't we didn't uh talkabout that on the podcast, but
that was another film where Ifelt very similar to this in
that it's important stuff we'retalking about in very important
subtext and context.
But the filmmaker, um,Schoenbrun in that case, is
(36:51):
being very, very defiant andpersistent in that we're not
gonna tell you, I'm not gonnatell you anymore.
I'm not going to show you anymore than I want to show you,
and you're going to take thataway from this.
And I don't know.
I think there's something tocommend there, I guess.
Like I might not enjoy it, Imight find it um, I don't want
to say boring because her accentis too electric to call it
(37:12):
boring, but I might not be tooenthralled by what is displayed.
But at the same time, both ofthose films, 24 hours, even 48
hours after it, I was stillthinking, man.
I was still like I wasrattling, I was very unrated.
The films were unnerving.
Um, I felt like they wereintentionally they were
intentionally and stubbornlyunnerving, but they succeeded in
(37:35):
that.
I was still thinking about itlong after I left the theater.
So good job to them, both ofthem.
Cinematography is inventive,the music is amazing, the
acting, especially Jenniferlearned, uh very electric stuff.
I wish that we had gone adifferent route, but ultimately,
like a lot of people,especially mothers, are loving
(37:55):
this.
Um and wives as well are lovingit.
So I'm glad it exists, man.
Like we need important subtextor cut or films with subtext
that people love.
You know what I mean?
We don't have to like it.
I hear you.
I hear you.
If people love it, that'sthat's enough for me.
Ofili (38:11):
Hey man, if they love it, we like it.
Okay, as you mentioned earlier,we're gonna close out right
now.
And this has been one of ourshorter episodes, but you know,
don't worry.
We have a loss of contentcoming for you guys up soon.
Steve, give us a rec to closeus out.
What's your what's your go-toright now?
Steve (38:31):
Man, you should not have asked me that because I'm about
to glaze.
But guys, I've just been givenlicense to glaze, so why not?
So earlier this year, we didour Oscar episode, and when they
asked me who my vote for bestactor was, I said, my current
working favorite actor,Chalamet.
So crazy that I said that outloud.
(38:51):
I was ashamed to say that a fewyears ago.
But um, man, guys, I don't wantto say, you know, we don't want
to be those guys that getexcited too early.
But if you're not invested, ifyou haven't purchased your
stocks, go all in right now.
I'm telling you right now, man.
Marty Supreme is going torewrite the entire landscape of
the year.
This is the big one, guys.
(39:12):
This is the big one.
I feel it in my bows.
I feel it in my bones, man.
This is the one.
So uh Christmas, Christmas Day,following his tradition of
Wonka and Complete Unknown, oraround Christmas, rather.
It's the big one.
I think that's the one.
I think that's going forward.
I think that's the one, evenmore than your Hamnet's and your
Park Chan.
I think this is the one.
Yeah.
(39:33):
Have you already no, youhaven't yet seen it though?
Ofili (39:36):
I haven't seen, I haven't seen it, I haven't seen
Supreme.
You're kidding me, bro.
That's what I said.
I'm gonna beat the gun, bro.
Okay, I believe.
Okay, I'm I'm gonna give thepeople a recommendation of
something that is currently out.
Okay.
So there actually two things.
So earlier I talked about AllHer Fault, the TV show that's on
Peacock.
You're going to love SarahSnook in that, you're going to
(39:59):
love uh Dakota Fanning in that.
Jay Ellis is also in that.
It's fucking good.
It's so good.
Okay, okay, it's so good.
Then um, the last thing I wantto talk about is Frankenstein.
That is also pretty good.
Oscar Isaac does a great jobthere.
Oh, okay.
Okay.
And wait, with Elordi.
Steve (40:19):
Okay, that's what I was going to ask you.
So let's cut you off.
We did talk about that one, andI haven't seen it.
Yay or nay?
I'd say it's a it's a yay.
Okay.
Ofili (40:28):
It's not a yay, but it's a yay.
You know, Guillermo del Toro isgonna find you another like 6'4
attractive looking person, makethem and make them a monster
woman wanna fuck.
Like it's kind of weird.
It's it's so weird.
But the people are saying he'swashed man.
I mean, I feel like the problemis that he's he's the he did
(40:51):
salt burn, he's doing this.
This is okay, but Saltburn andhe's going to do Wuthering
Heights.
So it's just kind of like wedon't know if you're trying to
do a ser you're are you aserious actor, basically.
Okay, okay.
You're a serious guy, you know.
Steve (41:05):
Okay, okay.
Ofili (41:06):
Fair enough.
Yeah.
All right, ladies and gentlemen,this has been another episode
of the Cinephile's Aisle.
I hope you guys enjoy thisepisode.
Should be coming out prettysoon.
Have a great day.
Steve (41:18):
Have a good one.
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