10 May The Killing of Two Lovers Review

THE KILLING OF TWO LOVERS

dir. Robert Machoian, starring Clayne Crawford, Sepideh Moafi, Chris Coy

Separated from his wife and kids, David attempts to keep his family together while grappling with his wife’s new relationship.

A film that opens as one thing and closes as something entirely different, The Killing of Two Lovers is a masterpiece film that examines strained relationships in a small town and the dynamics within. A premise that has the potential for melodrama or over-the-top bombastics, the film is a surprisingly small, quiet movie that favors character beats over grandiose plot. David, recently separated from his wife and kids and living at home with his father a mere mile or so away, opens the film with a scene that immediately draws the audience into the film, standing over his wife and her new boyfriend sleeping in his house. From there we follow David grappling with his feelings while jobbing for work around town. The uncomfortable moments spent with his wife are stretched out, giving the viewers a secondhand embarrassment and ache for David as he continually fails to connect with Nikki.

The most fully realized moments with this tortured man are when he’s with his 4 kids. The scenes in which he interacts with his 3 boys and navigates his brooding older daughter are some of the highlights of the movie; despite fighting his darkest intentions, David is an incredibly loving father. Whether its sneaking over to the house to tell his boys a joke at 2am or setting off rockets with them in the park, David’s joy at hanging out with his children are the only bright scenes in the film. The fact that these bright scenes are usually bracketed by darkness (stalking the boyfriend or using a mannequin for target practice with his pistol) serve to remind the audience that while he seems a dutiful father, he’s also a man that needs to seek some serious therapy. Because the focus is set on David, his complexities are on full display, which unintentionally does a disservice to Nikki, as we never get a peek into her point of view.

Starring Clayne Crawford and Sepideh Moafi, the cast (much like the rest of the film) is minimal, choosing to keep a narrow focus on this struggling family in a small town. Crawford is an emotional whirlwind, oscillating between moods at a moment’s notice as he interacts with his estranged family, father, and townspeople. Despair and rage are at the forefront for the majority of the film and Crawford handles both masterfully while managing to not give an overly embellished performance. A testament to both good writing and good acting, Crawford’s David is incredibly likeable, sympathetic, and his struggle easy to identify with. Conversely, Sepideh Moafi, as David’s wife Nikki, may seem like an antagonist to David but in reality is her own fleshed out character with different wants and needs that run perpendicular to David’s. The friction between be the two characters make for the highlights of the film, with Crawford and Moafi flexing their talents to yell, needle, and undermine each other in the unhealthiest of ways. With only a handful of minutes on the screen, Chris Coy does an incredible job as Derek, the interloper between David and Nikki as Nikki’s new boyfriend. Of the two scenes where David and Derek interact, the second one is the explosive confrontation that viewers have spent the movie waiting for yet still manages to surprise and eschew expectations.

Produced, written, directed, and edited by Robert Machoian, The Killing of Two Lovers is a stark, minimalistic affair, mostly set at two houses, one convenience store, and at a handful of crossroads, both literal and metaphorically. The low budget is bolstered by the strength of the script, the acting, and the directing choices made by Machoian. The decision to let shots linger or stretch past a comfortable limit is purposeful as Machoian lets Crawford do the lifting as David struggles with whether or not he wants to takes the lives of his wife and her boyfriend. Another highlight of the film is the delightfully odd sound mix that accompanies the score. Machoian uses sound to help ratchet the tension of the film, weaving in certain sounds that are both instantly recognizable and unfamiliar to keep the audience off their toes. The cocking of a pistol or the turning of an engine are sprinkled in at times to represent what’s going through David’s mind as he attempting to cope with the separation. At a scant 84 minutes, the pacing is slow, almost laconic at times, but never fails to keep the viewer’s attention.

Overall, The Killing of Two Lovers is a wonderful film that deserves every accolade its received thus far. A story about learning how to cope with change, navigating new and unfamiliar circumstances, and fighting to keep ones family unit together, it’s a wonderful character piece that shines brightest when Crawford and Moafi interact at cross purposes. A slow burn of a film, the will he/won’t he looms over the story as David’s internal struggle is put on display. Machoian manages to portray the complexities and nuances of a failing relationship set against the backdrop of rural town in middle America with a technical precision that is both beautiful and heartbreaking to behold. A strong script, strong performances, and a steady hand behind the the camera make this one of the best films of the year thus far. The Killing of Two Lovers is in theaters and on demand May 14th.

Review by Darryl Mansel