Being a woman who plans my weeks according to repertory screenings and has a regular habit of looking at my Letterboxd journal, let me elaborate on why a teaser can be very effective by tipping the scales between terror and euphoria. The sneak preview of Lynne Ramsay’s “Die My Love” does that perfectly.
MUBI will release the movie in theaters on November 7, after it premiered at Cannes, and the A-list ensemble team itself makes me queue up at 8 a.m.: Jennifer Lawrence and Robert Pattinson, along with LaKeith Stanfield, Sissy Spacek, and Nick Nolte, intersect around the story like changing weather conditions. It is the pairing of Lawrence and Pattinson, directed by Ramsay–one of our more audacious, visually observant directors–that accelerates my heartbeat.
The teaser is all heartbeat, no words.
There exists no spoken dialogue here, a choice I find deeply commendable. Ramsay treats silence much like other directors have approached monologues. In fleeting, jerky glimpses, we witness Lawrence’s Grace and Pattinson’s Jackson transition abruptly from gentle warmth to blinding intensity, from an almost intimate affection to the stark reality illuminated by the 2 a.m. kitchen light, where pretense cannot survive. One shot subtly suggests the presence of a knife. Another orchestrates a confrontation that begins as a mere whisper yet erupts into a tempest. It’s a mood that serves as narrative, where sensation undertakes the weighty task of storytelling.
There is something that pulls at my heart.
The setup is deceptively simple: Grace and Jackson leave New York for an inherited house in the country, have a baby, and the ground shifts. Grace begins to unravel, but not into weakness. The language around her is about imagination, strength, and this wild, untamed vivacity that starts flickering in the dark. As a lifelong movie lover and a woman who’s tired of “madness” being flattened into cliché, that framing matters. It suggests a character who isn’t broken by motherhood and isolation so much as remade by them, even if the remaking is messy and dangerous.
Ramsay, Lawrence, and Pattinson: a resounding yes, of.
Ramsay has not directed a feature since her 2017 film, “You Were Never Really Here,” and the pent-up precision resonates in every composition of this trailer. She collaborated with Alice Birch on the screenplay, drawing inspiration from Argentine writer Ariana Harwicz’s 2012 novel. This partnership feels perfectly aligned: Ramsay’s knack for capturing haunting details, combined with Birch’s willingness to delve into the more troubling aspects of femininity, culminates in a narrative that is both prickly and vital.
Jennifer Lawrence resembles a streak of lightning in this moment. She possesses that rare movie-star allure that allows her to appear simultaneously completely normal and subtly unhinged. Meanwhile, Pattinson, who has crafted a career around being more intriguing than stable, seems to serve as the calm foundation that Grace perpetually hovers on the brink of shattering. Together, their dynamism is a volatile force, the finest kind imaginable.
The look and the lineage
Seamus McGarvey is the cinematographer, and the photographs on the wall have a textured, rich aesthetic quality. One can almost touch the splotched dampened wood and the gentle softness of the knitted wool sweaters. Having worked with Ramsay on “We Need to Talk About Kevin,” McGarvey knows firsthand how to make an everyday space mythic, dark, and far from a Gothic fun house. This balancing act is just what the story needs.
The book’s bones, the film’s blood
Harwicz’s book had a notorious habit of residing inside the head of a woman, remorseless in its acceptance of chaos, yearning, and anger. If the movie sustains that electrified quality with a more cinematic pace, those Ramsay-esque quick edits, those queasy sound effects that insinuate underneath the skin, we’re not just looking at some postpartum psychodrama again. We are looking at real immersion. And if ever you have experienced the world seeking to lull you into a gentleness that doesn’t belong to you? That is absolute catnip.
Produce as if it matters
On the producing end, you have Jennifer Lawrence herself, Andrea Calderwood, Justine Ciarrocchi, Thad and Trent Luckinbill, Molly Smith, and Martin Scorsese. That team screams two things: artistic safeguarding and genuine theatrical support. In 2025, that’s not a certainty. It’s a blessing.
Why do I have time already?
I am always drawn to a movie that mines the inner life of a woman as a world that is ripe to be explored–prickly, sensual, frightening, humorous, and full of contradiction. Ramsay has never been afraid of those hard angles. Lawrence is at her brightest when she is free to be both fierce and delicate within the scope of one scene. Pattinson thrives when he moves away from the role of the sun within this solar system and instead becomes the star that shines at an angle. With the addition of Stanfield, Spacek, and Nolte, you get a pressure cooker full of weathered faces and souls that are many-layered. From the trailer, “Die My Love” doesn’t plead sympathy; instead, it expects focus. It wants your breathlessness, tension, and possibly even sleeplessness. I am more than happy to give all of that and to write a 1,000-word love story on the pages of my journal after the 7 p.m. showing. “Die My Love” will hit theaters on Friday, November 7th.
