It’s rare to see postpartum depression explored in mainstream entertainment, which makes it surprising to find the subject matter tackled here. However, it's disappointing that director Lynne Ramsay didn’t handle the sensitive topic with more care or effectiveness in this new film. The story follows Jackson (Robert Pattinson) and his girlfriend Grace (Jennifer Lawrence) as they move to rural Montana into a house inherited from his uncle, where they initially enjoy a peaceful existence. Soon after, they become parents to a baby boy, an event that should have brought joy but instead signals the start of problems for their relationship. While Grace seems devoted to her son, she also grows unhappy with her role as a stay-at-home mother and expresses dissatisfaction with the decline in intimacy between them. Her behavior becomes unstable, unpredictable, and even aggressive towards Jackson and others, including instances of self-harm. The film raises questions about what’s causing these changes—is it some form of mental breakdown? And can anything be done to address it? While postpartum mood shifts are a known issue, the way they're portrayed here feels exaggerated and pushes the story into territory that’s hard to grasp, with the plot wandering aimlessly and losing believability. The inclusion of strange, seemingly unrelated incidents, combined with over-the-top performances from the lead actors, makes for an exhausting viewing experience, and it seems like the film's central theme is almost forgotten. This project feels like a waste of talent; in addition to Pattinson and Golden Globe Award nominee Lawrence, the movie squanders the abilities of supporting cast members Sissy Spacek, Lakeith Stanfield, and Nick Nolte. It’s hard to understand what the filmmaker was trying to achieve, leaving viewers questioning whether they're witnessing real events or figments of imagination—or a blend of both. The film shares narrative issues with another of Lawrence’s films, “mother!” (2017), and one hopes that experience would have prompted her to be more selective about the scripts she chooses. There’s also an excessive amount of nudity, which I usually don't mind, but feels gratuitous here, especially in the frequent and explicit depictions of self-pleasuring. “Die My Love” is a significant disappointment, one that should leave everyone involved feeling disheartened.

Source on TMDB