Ending relationships and a partial and unexplored point of view make up a film that offers several concessions and offers quiet reflection while avoiding melodrama and focusing on sincere and honest characters.
Love stories are emotionally accessible. We all enjoy being transported to happy places where, in the end, romantic triumphs and traumas, and pain, disappointment and jealousy are part of other worlds in other places, other worlds that remain on the sidelines and do not interfere with our fictional ideal. ... The Murder of Two Lovers (Robert Machoyan, 2020) is not the movie. It is a cry of stabbing pain that hurts and chokes, and it stands erect as it reveals the pieces that remain after it rips - or nearly rips apart - no matter how much good intentions and great promises might be the go-between.
Robert Machoyan's film focuses on David, who is superbly played by Klein Crawford., And in the foreground, in which we see him holding a pistol aimed at his wife and his new partner while they sleep, which means that, in after all, and to refer to the title, there may be more than two lovers who may die in this feat. Throughout the shot, the director intends to convey with horrifying accuracy the internal disputes generated by the husband, in which they encounter a legitimate attempt to maintain the composure agreed with his wife, and immoderate and excruciating anger. your most primal instincts This inner struggle is brought to the screen by Machoyan through cut and unsettling footage - and the more than justifiable use of a 4/3 ratio that overpowers and puts in perspective - that impose David's point of view on the viewer even if he doesn't want to, and they make watching The Murder of Two Lovers an almost physical experience.
The comment that Machoyan introduces, opposing his dichotomies and contradictions to his protagonist, can be viewed as a semiotic act that acquires universal symbols and stereotypical behavior of gender roles and turns them into a central element.
His reference works include such works as A Story of Marriage (Noah Baumbach, 2019) or Blue Valentine (Derek Cianfrance, 2010), while his central theme is the collapse of the marriage relationship. However, we can also establish a connection with Ghost Story (David Lowry, 2017) in its most symbolic plane, but above all in aesthetic: the photograph of Oscar Ignacio Jimenez with its rural landscape and the predominance of gray takes on a special shade. a completely elementary value in the discourse of the film when playing, as in Lowry's tape, a whole inner world based on light and shadow. The commentary Machoyan introduces when confronting his protagonist with his dichotomies and contradictions can be seen as a semiotic act that takes on the universal symbols and stereotypical behavior of gender roles and turns them into a central element: his drawing of the average American facing a deteriorating condition. life offers enough emotional nuance to become clear - in its brutality - a kind of inner struggle that goes beyond the usual canon that cinema explores in relation to breakup.
On the other hand, its thriller element, which is not as central as the drama, is solved with very high precision. Inside, it contains truly intense scenes that do not hide the almost unbearable hidden violence and unpredictability - these missiles - and manages to infuse pathos with everything related to David's attempts - desperate and elaborate, based on an imposed emotional state to get his family back. The use of sound design that takes on paramount value by placing the protagonist's inner world in context, forcing us to listen over and over again to the sound of revolver turning and other industrial noises that have the same or more narrative value than the images themselves - and which give the indescribable intensity of the story - they amplify the tension that lives behind the tragedy, transforming both approaches into a coherent whole that leaves its best qualities as an exercise of courage in the most evocative and thought-provoking plan. In the end, the murder of two lovers speaks of love as the last stop of human integrity and, as if it were a study that goes beyond the fictional one, emphasizes, in the end, the difficulty of lowering the weapon and not stepping on the broken step leading to total destruction. And we have rarely seen this.