Die My Love review – Jennifer Lawrence excels in intensely sensual study of a woman in meltdown

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Lawrence excels as a woman whose bipolar disorder is exacerbated by husband Robert Pattinson’s infidelity, with super-strength direction from Lynne Ramsay Lynne Ramsay brings the Gothic-realist steam heat, some violent shocks and deafening music slams to this movie, adapted by her with co-writers Alice Birch and Enda Walsh from the 2012 novel by Ariana Harwicz . It’s a ferociously intense study of a lonely, passionate woman and her descent into bipolar disorder as she is left alone all day with a new baby in a rambling Montana house originally belonging to her husband’s uncle, who took his own life in a gruesome way that we are not permitted to discover until some way into the movie. Die My Love is another film to remind you that Ramsay believes you should make movies the way VS Naipaul believed you should write books: from a position of strength. There is, simply, overwhelming muscular strength in this picture: in her direction, in Paul Davies’s sound design, in the saturated colour...
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‘You have to get over the me thing’: Kevin Bacon on money, marriage – and learning to live with himself

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Kevin Bacon, Hollywood’s great survivor, first set hearts fluttering in the 1984 classic Footloose. Now 65, he’s back on the big screen again. Here, he talks about his band, politics, family, embracing change and, most of all, learning selflessness…

There’s a state that veteran Hollywood actors can reach, beyond ravenous ambition, but with retirement still distant, that seems to make them contented as professionals and mellow as people. Kevin Bacon, now 65, has hit that sweet spot. Continually employed for decades, he shares a Manhattan apartment as well as a Connecticut farm with his wife of 35 years, Kyra Sedgwick, and their two adult children, Travis and Sosie. Bacon is in a country band with his brother, Michael, and otherwise channels any musical overspill into adorable Instagram videos of the Family Bacon (barnyard animals included) covering pop songs old and new. The hunger of the 1980s lead-actor-in-waiting, the frustration of the bit-player in mid-career who kept a wary eye on his place in the order of things… these concerns have worn away, Bacon says, with time and with reflection.

“Obviously, I’m not in this to do worse than I did last year,” he tells me, leaning right back on a camel-coloured sofa in his apartment. “But as long as I feel like it’s a good part, an interesting part, something cool, I got no problem moving down a call-sheet.” At the outset of a career, he says, “you get on set and you start to see that it’s hierarchical. Who’s getting paid more? Who’s getting a bigger trailer? Who has the bigger part?” The tendency at first is to see the hierarchy and to try to climb. Bacon strived for a while. “And when I kind of rethought it, and rethought about the possibility of being number 10 on a call-sheet, or number two, or number 25, or whatever – that’s when I figured out who I was as an actor. So I no longer have a problem doing a small part. As you can clearly see.”

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