看之前被各种流行的，执着于现实主义层面的“争议”带错了方向，几个段落看下来，明明是拉姆塞昭然若揭的电影技法军火展示，大结构上“鬼屋”的比喻与小细节上将幻想与倒叙、插叙结合的叙事诡计相得益彰，而且这种生动细腻的，令人目不暇接具像化心理惊悚贯彻始终，作为输出终端和皇冠钻石的两位主演亦足够耀眼（比起帕丁森近些年一如既往的稳健输出，詹妮弗劳伦斯在某种意义上贡献了职业最佳表演，其内在质感远非早年拉塞尔作品中刻意的歇斯底里可比）。 以下评价摘自《Variety》网站，原文地址放置于本文结尾。文章观点不代表笔者本人观点。Jennifer Lawrence Is a Mother Grappling with Postpartum Depression (and Punk-Rock Angst) in Lynne Ramsay’s Showy Mess of a Marital Psychodrama琳恩·拉姆塞的浮华婚姻心理剧：詹妮弗·劳伦斯演绎产后抑郁与朋克式焦虑的母亲困局Robert Pattinson is the beleaguered partner and father in a movie that's more eager to wallow in violent dysfunction than understand it.罗伯特·帕丁森深陷家庭泥潭：一部沉溺暴力失序、拒绝理性探讨的影片In one of the terrifyingly labored and overwrought scenes that make up Lynne Ramsay’s “Die My Love,” Grace (Jennifer Lawrence), who’s suffering from an acute case of mental trauma — the film would have you believe it’s postpartum depression, though you could make a good case that it’s not — has had enough of the noisy dog that her partner, Jackson (Robert Pattinson), brought home for no good reason. The two are living in rural Montana, in a home that Jackson inherited from his uncle, a house that definitely qualifies as a fixer-upper. These two just haven’t bothered to fix it up.在琳恩·拉姆塞《去死吧，我的爱》中那些令人窒息且刻意雕琢的夸张场景之一里，格蕾丝（詹妮弗·劳伦斯饰）——她正遭受严重的精神创伤（影片试图让你相信这是产后抑郁，尽管你完全可以提出充分理由反驳此论断）——终于受够了伴侣杰克逊（罗伯特·帕丁森饰）毫无理由带回家的吵闹狗。两人居住于蒙大拿州乡间一栋杰克逊从叔叔那里继承的破败祖宅中，任由房屋朽烂，毫无修缮之意。They have a baby, you see, a sweet little boy, and ever since he came into their lives everything has been falling apart. The dog literally never stops yapping (it’s the most annoying dog in history), so Grace, who has brought over a shotgun, asks Jackson to shoot it. He says: Are you kidding that’s crazy! So Grace picks up the shotgun and does the deed herself.他们有了一个孩子，一个可爱的小男孩，自从他来到他们的生活中，一切都变得支离破碎。这只狗总是不停地叫唤（它是史上最烦人的狗），所以格蕾丝带来了猎枪，让杰克逊射杀它。他说“开什么玩笑，这太疯狂了！”于是格蕾丝拿起猎枪，亲自动手。It’s clear that she’s got a problem. Yet I couldn’t help but wonder why Jackson, with a new baby to deal with, brought home that dog in the first place — or, more to the point, why he seemed so flagrantly insensitive to the fact that Grace didn’t want a dog. This situation typifies the dynamic of “Die My Love,” which is as follows: Grace acts out in delirious, raging, violent, inexplicable ways — and Jackson, while understandably dismayed at her behavior, reacts to it by rarely lifting a finger to do anything that would help her. Is he insensitive or just dumb? Pattinson, in a rare bad performance, just plays him as an unpleasant clueless bro. “Die My Love” presents us with a case of the blind leading the damned.显然她存在心理问题。但我不禁疑惑：杰克逊明明要照顾新生儿，为何还要把那只狗带回家？更关键的是——为何他对格蕾丝明确抗拒养狗的事实如此公然漠视？这一场景完美体现了《去死吧，我的爱》的核心矛盾模式：格蕾丝通过谵妄、暴怒、暴力等难以理喻的方式宣泄情绪，而杰克逊虽然对其行为感到惊愕（这可以理解），却几乎不采取任何实质行动来帮助妻子。这种互动模式构成了整部电影的叙事基础。这个丈夫究竟是麻木不仁还是单纯愚钝？罗伯特·帕丁森贡献了其演艺生涯中难得一见的糟糕表演，将角色塑造成一个讨人厌的蠢直男形象。《去死吧，我的爱》呈现的婚姻图景，堪称当代版的"盲人引领受诅咒者"——两个迷失的灵魂在互相折磨中越陷越深。Postpartum depression is a syndrome that was once in the shadows, and there are ways it remains so. It’s still misunderstood and under-treated and not empathized with enough. Yet “Die My Love,” which is adapted from Ariana Harwicz’s 2017 novel, serves up a showy yet strange, in many ways baffling hyperbolic projection of what can take place in the hearts and minds of women during the first months (or even years) of motherhood.产后抑郁症这一症候群曾长期处于阴影之中，至今仍在某些层面未被完全照亮。它依然遭受着误解重重、治疗不足、共情匮乏的困境。改编自阿丽亚娜·哈维茨2017年同名小说的《去死吧，我的爱》，却以浮夸而诡异的方式——在诸多层面上堪称令人费解——将女性在成为母亲初期（甚至延续数年）可能经历的心理图景，投射成一场歇斯底里的夸张化呈现。This is the first film directed by Lynne Ramsay in seven years, since the startling Joaquin Phoenix depravity-and-revenge drama “You Were Never Really Here” (2017), and what she establishes in the film’s early scenes, which feature a lot of in-your-face drinking and fucking, is that Grace and Jackson are a kind of dissolute punk-rock couple, the sort of nihilist parents who aren’t going to let having a baby get in the way of their Budweiser regimen. That’s okay; they have a right to keep drinking and raise a kid at the same time. But there’s very little sense that either of them has decided to become a responsible adult.本片是琳恩·拉姆塞自惊世骇俗的华金-菲尼克斯主演的复仇剧《你从未在此》之后七年来执导的首部电影。开篇便通过大量直击眼球的酗酒纵欲镜头，将格蕾丝与杰克逊塑造成一对堕落朋克式夫妻：这对虚无主义父母拒绝让新生儿的到来打乱他们的百威啤酒日常。从某种角度而言无可厚非——他们当然有权在育儿同时保持饮酒自由。但问题在于，银幕上几乎看不到这对伴侣任何向成熟个体蜕变的迹象。She’s an aspiring writer who says, as soon as the baby is born, that she’s done with writing. He’s got…some kind of job, that he seems to do occasionally, on the road (we have no idea what it is), but mostly the two are just hanging out in that house. There’s very little structure to their lives, or to the movie, beyond Ramsay’s art-house showbiz instinct to keep cranking up the shock level of Grace’s behavior. It’s not really a dialogue-driven movie. Grace and Jackson never have a simple conversation about future plans, or health insurance, or buying groceries, or about how they intend to parent. They just seem like morose post-collegiate slackers who had a baby because they like to fuck a lot and, you know, shit happens.这位自诩怀揣文学抱负的女子在婴儿呱呱坠地之际便宣告封笔。他从事某种需要偶尔出差的工作（我们无从知晓具体是什么）——更多时候这对伴侣只是在那幢宅邸里虚度光阴。无论是他们的生活轨迹还是影片叙事，都缺乏基本的结构性支撑，唯有导演琳恩·拉姆塞那套艺术电影式的娱乐圈本能，不断将格蕾丝的行为惊骇指数推向新高。这绝非一部以对话驱动的作品：两位主人公从未就未来规划、医疗保险、日常采购或育儿理念进行过哪怕一次平实的交谈。他们更像是两个沉溺情欲的阴郁后大学时代懒散青年，意外得子不过是荷尔蒙作祟下的副产品——你懂的，世事无常。So when Grace starts to act out in a way that makes it seems like she’s totally not with the mommy program, the context the movie has created for that is: These two already seem like they’re not really with the mommy-and-daddy program. There’s never a moment, for instance, when we see them beholding their son with joy; he’s more like an accessory they have to take care of. And while there’s no simple template for how postpartum depression expresses itself, it can often be incredibly inward.当格蕾丝开始以一种看似完全不符合母亲角色的方式行事时，电影为这种行为构建的叙事背景是：这对夫妇似乎本就未能真正适应父母身份。例如，我们从未目睹他们以喜悦目光凝视儿子的场景——这个孩子更像是他们不得不照料的附属品。虽然产后抑郁症的表现形式并无单一模板，但其症状往往具有极强的内隐性特征。Grace’s total alienation from motherhood, on the other hand, is flamboyantly outward. As a filmmaker, Ramsay is a mood poet who favors violence and needle drops (there’s a lot of Scorsese in her blood), in this case literal ones, since our two hipster parents have a turntable. Grace first starts to transition into derangement when Toni Basil’s “Mickey” is playing, and the song starts to skip and repeat, and Grace keeps saying “All right! All right!” and then licks the window pane. Ramsay has a lavish gift for staging that sort of baroque rock ‘n’ roll breakdown. (A little later, Grace will crash through that same window.) From the start, though, the film almost seems to be getting high on the dysfunctional flamboyance of the behavior it’s showing you. “Die My Love” keeps saying: This may be mental illness…but wow, is it ever cinema! On some level we’re watching Grace crack up because wallowing in this much trauma is fixating.另一方面，格蕾丝对母职的彻底疏离却呈现出极具表演性的外放特质。作为作者导演，琳恩·拉姆塞堪称情绪诗人，她偏爱暴力美学与现成音乐插入（其创作血脉中流淌着大量斯科塞斯基因）——本片中这对时髦父母拥有的黑胶唱机便是这种风格的实体化注脚。当托尼·贝索尔《米奇》的旋律响起时，格蕾丝首次显现精神异化征兆：唱片开始跳针循环，她不断重复"够了！够了！"，继而舔舐窗玻璃。琳恩·拉姆塞极具铺陈此类巴洛克式摇滚崩解场景的天赋（片刻之后，格蕾丝将破窗而出）。然而影片自始至终都沉醉于这种病态夸张的行为展示中。《去死吧，我的爱》始终传递着某种宣言：这或许是精神疾患...但天啊，这何尝不是电影艺术的极致绽放！在某种程度上，我们凝视格蕾丝的精神崩裂，恰是因为沉溺于如此剧烈的创伤具有令人着魔的戏剧张力。In pre-feminist times (say, the 1950s), it was the definition of unenlightened patriarchal myopia to view a woman as “irrational” or “overemotional” or — Freud’s word — “hysterical.” But just as many aspects of the past, including those that once seemed retrograde, can be reclaimed with a new consciousness, the notion that a new mother has every right to be irrational in her despair — something that just about everyone in the movie, notably Jackson’s mother, Pam (Sissy Spacek), tells Grace — is very much at the center of where we are now. That, in its way, is progress. Because it’s reality. The burdens of motherhood can be every bit as staggering as the joys.在前女权主义时期（如1950年代），将女性定义为"非理性"或"过度情绪化"——套用弗洛伊德的病理化标签即"歇斯底里"——正是蒙昧父权短视的典型症候。但正如诸多历史遗留问题（包括那些曾被视为倒退的文化基因）可通过新意识获得赋权重构，当代社会正将"新生母亲完全有权利在绝望中展露非理性"这一理念置于价值体系的核心——电影中几乎所有角色，尤其是杰克逊之母帕姆（茜茜·斯派塞克 饰），都如此告诫格蕾丝。这种认知范式转换本身即构成某种进步。因其直指存在本质：母职的重负与喜悦同样具有惊心动魄的强度。But “Die My Love,” for all of Ramsay’s talent, isn’t designed to explore that experience. It’s designed, rather, as a kind of thesis movie: reckless on the surface but overdetermined. And I think that’s why Jennifer Lawrence’s performance feels so explosive but, at the same time, so emotionally reined in. In “Die My Love,” you feel the power of her presence, the hellbent quality of her rage. When it comes to chewing out a blabby cashier, crawling around like an animal, trashing the bathroom and pouring soap products all over the floor, or bashing her head on a mirror, she’s an ace wastrel. But the very force of her destruction makes us want to go: What is happening?然而纵使琳恩·拉姆塞才华横溢，《去死吧，我的爱》的创作意图并不在于深挖母性经验内核。这部作品更像是某种命题电影：表面恣肆狂放，实则过度设计。这正是詹妮弗·劳伦斯的表演既爆发力十足却情感克制的症结所在。观众能强烈感知其存在感中迸射的能量，以及那种孤注一掷的暴烈特质。无论是怒怼多话收银员、如野兽般匍匐、捣毁浴室泼洒满地清洁剂，抑或以头撞镜，这位奥斯卡影后都将破坏者形象演绎至登峰造极。但恰恰是这种毁灭性力量迫使我们诘问：这场精神雪崩的诱因何在？We want the film to offer some kind of answer. Jackson checks Grace into a mental hospital, and she gets “better,” to the extent that that means she emerges eager to bake cakes and hide her darkness behind a sunny agreeability that looks like a parody of happy-homemaker domesticity. But by now we’re onto the film; we’re just waiting for that façade to crack. Frankly, it looked to me like Grace, whether or not she’s suffering from postpartum depression, has borderline personality disorder. But that would be a different movie. By the time “Die My Love” reaches its voluptuously incendiary yet somehow rather rote ending, you may wish you were watching a different movie.我们希望影片能给出某种答案。当杰克逊将格蕾丝送入精神病院接受治疗后，她看似"康复"了——这种康复的实质，不过是热衷于烘焙蛋糕，用阳光般温顺的表象掩盖内心黑暗，宛如对贤妻良母式家庭生活的荒诞戏仿。此刻我们已然洞悉影片机制，只是静待这层伪装崩裂。坦率而言，无论是否罹患产后抑郁，格蕾丝更似典型的边缘型人格障碍患者，但这将导向另一部截然不同的作品。当《去死吧，我的爱》抵达那纵欲般炽烈却难掩陈腐的结局时，观者或许会萌生观看另一部电影的强烈渴望。原文地址：https://variety.com/2025/film/reviews/die-my-love-review-jennifer-lawrence-robert-pattinson-1236401527/
