I wanted more from this film, but that’s not to say it was bad. It actually did have my attention for the entire run time which surprised me considering the lacklustre of middle section which made the film overall feel like it didn’t say much. This was filled with long takes and negative space which I generally love. Both the beginning and end of the film were packed with emotions, and the middle lacked a lot of substance for me personally. 

The acting was phenomenal, and the actors really executed what they were given well which made me greedy to see more. Unfortunately, the writing didn’t permit that.  Although not a lot happened in this film, I still found myself…

So simple and elegant and beautiful and dull and bleak and dreary and cold and lonely. I’ve been wanting to see this film for quite some time now and it didn’t disappoint one bit, it totally hit the spot I wanted it to and met my expectations completely.

The title and the opening scene makes you think you’re in for a very different kind of movie, so what a nice surprise it was to watch the movie and realise the movie isn’t what you thought it was going to be, but something even better. It’s a short movie, and very little actually happens in its brisk 84 minute runtime, but its aesthetic and vibe really draws you in and puts…

"Death is sometimes kinder than Love."

~ Rick Riordan, The House of Hades

Love can be a many-splendored thing, as so many movies enjoy showing us, but in The Killing of Two Lovers we are presented with the opposite: a dying love, a dying marriage, and the toll that takes on the human mind, as well as the family ensconced around it.

The film opens with a man holding a gun over a woman and another man as they lay in bed asleep. We immediately think we know what this film will be based on its title, but director Robert Machoian defies those expectations here and at every turn afterward as the film's devastating and tactile dissent into the madness…

Set within a small snow-covered Utah town, The Killing of Two Lovers observes Clayne Crawford delivering an exceptional performance as central protagonist David, who is one half of a crumbling marriage that's fumbling towards inevitably falling apart.

He struggles in maintaining an exterior of compassionate understanding while internally drowning in disbelief and grieving rage. Through a mutual understanding with his estranged wife Nikki (Sepideh Moafi), they've established a tolerance that while they are giving each other space, to see if there is still a spark left between them, they will be free to see other people.

He strives to keep the faith on account of his four children, who they take turns parenting. Still, even they, particularly the oldest one,…