看之前被各種流行的，執著于現實主義層面的“爭議”帶錯了方向，幾個段落看下來，明明是拉姆塞昭然若揭的電影技法軍火展示，大結構上“鬼屋”的比喻與小細節上將幻想與倒敘、插敘結合的敘事詭計相得益彰，而且這種生動細膩的，令人目不暇接具像化心理驚悚貫徹始終，作為輸出終端和皇冠鉆石的兩位主演亦足夠耀眼（比起帕丁森近些年一如既往的穩健輸出，詹妮弗勞倫斯在某種意義上貢獻了職業最佳表演，其內在質感遠非早年拉塞爾作品中刻意的歇斯底里可比）。 以下評價摘自《Variety》網站，原文地址放置于本文結尾。 文章觀點不代表筆者本人觀點。 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·拉姆塞的浮華婚姻心理劇：詹妮弗·勞倫斯演繹產后抑郁與朋克式焦慮的母親困局 Robert Pattinson is the beleaguered partner and father in a movie that's more eager to wallow in violent dysfunction than understand it. 羅伯特·帕丁森深陷家庭泥潭：一部沉溺暴力失序、拒絕理性探討的影片 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，我的愛》中那些令人窒息且刻意雕琢的夸張場景之一里，格蕾絲（詹妮弗·勞倫斯飾）——她正遭受嚴重的精神創傷（影片試圖讓你相信這是產后抑郁，盡管你完全可以提出充分理由反駁此論斷）——終于受夠了伴侶杰克遜（羅伯特·帕丁森飾）毫無理由帶回家的吵鬧狗。兩人居住于蒙大拿州鄉間一棟杰克遜從叔叔那里繼承的破敗祖宅中，任由房屋朽爛，毫無修繕之意。 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. 他們有了一個孩子，一個可愛的小男孩，自從他來到他們的生活中，一切都變得支離破碎。這只狗總是不停地叫喚（它是史上最煩人的狗），所以格蕾絲帶來了獵槍，讓杰克遜射殺它。他說“開什么玩笑，這太瘋狂了！”于是格蕾絲拿起獵槍，親自動手。 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. 顯然她存在心理問題。但我不禁疑惑：杰克遜明明要照顧新生兒，為何還要把那只狗帶回家？更關鍵的是——為何他對格蕾絲明確抗拒養狗的事實如此公然漠視？這一場景完美體現了《去死吧，我的愛》的核心矛盾模式：格蕾絲通過譫妄、暴怒、暴力等難以理喻的方式宣泄情緒，而杰克遜雖然對其行為感到驚愕（這可以理解），卻幾乎不采取任何實質行動來幫助妻子。這種互動模式構成了整部電影的敘事基礎。這個丈夫究竟是麻木不仁還是單純愚鈍？羅伯特·帕丁森貢獻了其演藝生涯中難得一見的糟糕表演，將角色塑造成一個討人厭的蠢直男形象。《去死吧，我的愛》呈現的婚姻圖景，堪稱當代版的"盲人引領受詛咒者"——兩個迷失的靈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. 產后抑郁癥這一癥候群曾長期處于陰影之中，至今仍在某些層面未被完全照亮。它依然遭受著誤解重重、治療不足、共情匱乏的困境。改編自阿麗亞娜·哈維茨2017年同名小說的《去死吧，我的愛》，卻以浮夸而詭異的方式——在諸多層面上堪稱令人費解——將女性在成為母親初期（甚至延續數年）可能經歷的心理圖景，投射成一場歇斯底里的夸張化呈現。 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·拉姆塞自驚世駭俗的華金-菲尼克斯主演的復仇劇《你從未在此》之后七年來執導的首部電影。開篇便通過大量直擊眼球的酗酒縱欲鏡頭，將格蕾絲與杰克遜塑造成一對墮落朋克式夫妻：這對虛無主義父母拒絕讓新生兒的到來打亂他們的百威啤酒日常。從某種角度而言無可厚非——他們當然有權在育兒同時保持飲酒自由。但問題在于，銀幕上幾乎看不到這對伴侶任何向成熟個體蛻變的跡象。 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. 這位自詡懷揣文學抱負的女子在嬰兒呱呱墜地之際便宣告封筆。他從事某種需要偶爾出差的工作（我們無從知曉具體是什么）——更多時候這對伴侶只是在那幢宅邸里虛度光陰。無論是他們的生活軌跡還是影片敘事，都缺乏基本的結構性支撐，唯有導演琳恩·拉姆塞那套藝術電影式的娛樂圈本能，不斷將格蕾絲的行為驚駭指數推向新高。這絕非一部以對話驅動的作品：兩位主人公從未就未來規劃、醫療保險、日常采購或育兒理念進行過哪怕一次平實的交談。他們更像是兩個沉溺情欲的陰郁后大學時代懶散青年，意外得子不過是荷爾蒙作祟下的副產品——你懂的，世事無常。 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. 當格蕾絲開始以一種看似完全不符合母親角色的方式行事時，電影為這種行為構建的敘事背景是：這對夫婦似乎本就未能真正適應父母身份。例如，我們從未目睹他們以喜悅目光凝視兒子的場景——這個孩子更像是他們不得不照料的附屬品。雖然產后抑郁癥的表現形式并無單一模板，但其癥狀往往具有極強的內隱性特征。 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，格蕾絲對母職的徹底疏離卻呈現出極具表演性的外放特質。作為作者導演，琳恩·拉姆塞堪稱情緒詩人，她偏愛暴力美學與現成音樂插入（其創作血脈中流淌著大量斯科塞斯基因）——本片中這對時髦父母擁有的黑膠唱機便是這種風格的實體化注腳。當托尼·貝索爾《米奇》的旋律響起時，格蕾絲首次顯現精神異化征兆：唱片開始跳針循環，她不斷重復"夠了！夠了！"，繼而舔舐窗玻璃。琳恩·拉姆塞極具鋪陳此類巴洛克式搖滾崩解場景的天賦（片刻之后，格蕾絲將破窗而出）。然而影片自始至終都沉醉于這種病態夸張的行為展示中。《去死吧，我的愛》始終傳遞著某種宣言：這或許是精神疾患...但天啊，這何嘗不是電影藝術的極致綻放！在某種程度上，我們凝視格蕾絲的精神崩裂，恰是因為沉溺于如此劇烈的創傷具有令人著魔的戲劇張力。 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. 在前女權主義時期（如1950年代），將女性定義為"非理性"或"過度情緒化"——套用弗洛伊德的病理化標簽即"歇斯底里"——正是蒙昧父權短視的典型癥候。但正如諸多歷史遺留問題（包括那些曾被視為倒退的文化基因）可通過新意識獲得賦權重構，當代社會正將"新生母親完全有權利在絕望中展露非理性"這一理念置于價值體系的核心——電影中幾乎所有角色，尤其是杰克遜之母帕姆（茜茜·斯派塞克 飾），都如此告誡格蕾絲。這種認知范式轉換本身即構成某種進步。因其直指存在本質：母職的重負與喜悅同樣具有驚心動魄的強度。 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? 然而縱使琳恩·拉姆塞才華橫溢，《去死吧，我的愛》的創作意圖并不在于深挖母性經驗內核。這部作品更像是某種命題電影：表面恣肆狂放，實則過度設計。這正是詹妮弗·勞倫斯的表演既爆發力十足卻情感克制的癥結所在。觀眾能強烈感知其存在感中迸射的能量，以及那種孤注一擲的暴烈特質。無論是怒懟多話收銀員、如野獸般匍匐、搗毀浴室潑灑滿地清潔劑，抑或以頭撞鏡，這位奧斯卡影后都將破壞者形象演繹至登峰造極。但恰恰是這種毀滅性力量迫使我們詰問：這場精神雪崩的誘因何在？ 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 fa?ade 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. 我們希望影片能給出某種答案。當杰克遜將格蕾絲送入精神病院接受治療后，她看似"康復"了——這種康復的實質，不過是熱衷于烘焙蛋糕，用陽光般溫順的表象掩蓋內心黑暗，宛如對賢妻良母式家庭生活的荒誕戲仿。此刻我們已然洞悉影片機制，只是靜待這層偽裝崩裂。坦率而言，無論是否罹患產后抑郁，格蕾絲更似典型的邊緣型人格障礙患者，但這將導向另一部截然不同的作品。當《去死吧，我的愛》抵達那縱欲般熾烈卻難掩陳腐的結局時，觀者或許會萌生觀看另一部電影的強烈渴望。 原文地址： https://variety.com/2025/film/reviews/die-my-love-review-jennifer-lawrence-robert-pattinson-1236401527/