), who’s not alone there. But the moment passes without incident, the potential victims not even waking to discover their peril. David climbs out a window of what had until recently been his own home, runs the few hundred yards back to the house of his ailing widower dad and resumes the existence of unsettled waiting he’s had since he and Niki decided they “needed a break.”
They also decided that, having married right out of high school, with four kids following, they’re allowed to “see other people” during this trial period. Except it becomes obvious these are things only Niki wants; David hopes they constitute a mere phase that will soon end so their still-young family can return to normal.
There is no question that some kind of explosion is coming, the film itself acting as a sort of magnifying glass under whose heat relationships might combust. But while that expectation is indeed satisfied, it is not met in the way a viewer is likely to anticipate, from the title or anything else. The somewhat desolate, probably financially hard-pressed environment is vividly captured , yet “Killing” does not hew to familiar stereotypes of rural life or character. Crawford’s dominating performance makes David no hick but a sensitive and accommodating man a bit intimidated by his admittedly “much smarter” wife, flailing in his efforts to hold together a family unit he can’t go on without.
His perspective provides a poignant, unsentimental depiction of a common circumstance, lent intriguing frisson by the rigor of Machoian’s overall aesthetic. That’s furthered by his unhurried yet never slack editorial pace. In lieu of a musical score, there’s a sort of musique concrete soundtrack by sound designer Peter Albrechtsen.
Thank you for reviewing TheKillingOfTwoLovers at Sundance2020 - acting, directing, music, lighting - all amazing - all crew and cast have worked so hard to produce this incredible movie BRILLIANT ClayneCrawford ClayneCrawford
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