Synopsis
Sometimes we leave everything to find ourselves.
A depressed man moves back in with his parents following a recent heartbreak and finds himself with two women.
A depressed man moves back in with his parents following a recent heartbreak and finds himself with two women.
Joaquin Phoenix Gwyneth Paltrow Vinessa Shaw Isabella Rossellini Moni Moshonov Elias Koteas Bob Ari David Ross Anne Joyce Elliot Villar Craig Walker Carmen M. Herlihy Donald J. Hewitt Jr. Christian Albrizo Julie Budd Iain J. Bopp Samantha Ivers Jeanine Serralles Miguel Rivera Clinton C. Ingram Doug Wright Shiran Nicholson Marion McCorry Saidah Arrika Ekulona David Cale Sy Fader Joel Horwitz John Baker Kathryn Gerhardt Show All…
Douglas Murray Will Files Jana Vance Frank Rinella Scott R. Lewis Tom Johnson Tom Nelson Dennie Thorpe Kent Sparling Sean England Ronald G. Roumas Gregg Baxter Steve Bissinger Ellen Heuer
Los amantes, Deux amants, Dyo erotes, Dos Amantes, Duplo Amor, Dos amants, 紐約愛情故事, Дві коханки, Любовники, Két szerető, Kochankowie, İki Aşık, 两个情人, Milenci, שתי אהבות, Δυο Έρωτες, Amantes, Doi iubiți, Любовници, 투 러버스, トゥー・ラバーズ, Tình Tay Ba, دو عاشق
Still the most richly observed love story of the last decade, with a host of potential types—the still-at-home man-child; the stable, successful woman; and the MPDG whose own erratic nature makes her both mysterious and far more understandable to a fuck-up—and upends them with lived-in performances that contextualize their follies and dreams. Gray's aesthetic here is naturally more confined than in, say, WE OWN THE NIGHT, but he still places enough distance between his camera and subjects to take in their milieu, both situating them in a specific physical context and expressing their inner sense of stagnation and sad hope. Visconti adapted the same root Dostoevsky story, but Gray gives it a Fordian angle that fiddles with expressionistic depth yet…
"Are you a fuckup?"
i just want to hold joaquin phoenix's hand
these teenagers look old
Are you crying?
I'm just happy.
How bad could it be to dive into a relationship that you know it won't work out for yourself?
'Two lovers' is about that, the unrequited love, the chance to start over with those around you, the use and enjoyment of someone else to not feel alone.
The end is an endless sadness, i couldn't see a sincerity in Leonard's tears because he was crying because he knows Michelle'll never be his, he knows that relationship will not work, the future of Father's company was one of reasons he came back, he saw in Sandra a cause to move on, if it had not been the same, he would have killed himself in that sea.
Both sides are wrong, there is no right here, Michelle for deceiving Leonard, and Leonard for taking advantage of Sandra to forget about Michelle.
elegantly simple but deceptively wounding, this sneaks up on you while you're not even noticing it. has aged remarkably well as a generational portrait of people whose only conception of love is based on what they think someone else wants of them, and then assuming wrongly on all accounts. really heart wrenching stuff.
like if The Heartbreak Kid was a horror movie, which depending on your hair color it already is. being home with your Jewish parents is just yelling “we’re out of seltzer!!” last act totally harrowing. the last great Gwyneth? not sure if Contagion counts.
I really wanna know how old these characters are supposed to be
As if James Gray looked deep into his own soul and decided to showcase his feelings in a film so raw, so emotional, so captivating, so gentle, so truthful, it seems impossible that any human would be this open to share it to the world. If We Own The Night proves Gray's visual capabilities, Two Lovers showcases his emotional capabilities.
This review may contain spoilers. I can handle the truth.
If a dude gave me an engagement ring he meant to give to another woman, I would knock his fucking teeth out. It's the fucking principle of the thing.
I'dve been more into this if it was a woman with two lovers. I'm a woman. I think that's pretty understandable. I'm sick to death of having to experience 90% of films from a man's point of view. There were parts of this I liked, but I'm tired of narratives giving grown-ass men room to act like teenagers, expecting the audience to empathize. If I were Sandra's friend in real life, I'd tell her to wait for someone who actually loves her, rather than settling for someone who treats her as a second choice.
Literally startling in its craft. With a cut in the third scene, from a three-quarter shot of Phoenix to a medium shot of Shaw staring right down the barrel of the lens, Gray plunges the viewer into Leonard’s increasingly cluttered headspace as he’s confronted with the ultimate manifestation of family expectations. It’s a technique that’s gaining popularity among American auteurs, but while Jenkins and even Anderson use these shot as showstoppers, Gray deploys this one with such nonchalance that you might miss it. (Indeed, I didn’t catch it on my first watch.) And the rest of the film follows suit, conveying the story in a quiet, understated style through elements like lens choice and blocking. By the final scene, when Gray once again proves his superior sense for widescreen compositions, you realize he is probably the most assured of this country’s great formalists. A masterpiece.
The tragic story of “Two Lovers” revolves around lonely individuals searching for love in all the wrong places. It is complex and offers insightful commentary on toxic, co-dependent relationships and how people can inadvertently use each other.
“Two Lovers” takes a rather pessimistic view on the potential for love, especially when both parties struggle with mental instability. Yet, there is some solace in the love found within the familial bond between Leonard and his parents, as well as the Jewish community depicted in New York.
I wonder if Gray views the third act as a tragedy for Leonard and Michelle; I personally do not. While they care for each other, their fantastical getaway to San Francisco ultimately leads them back…