We soon find out that the intense-looking man with the gun is David (Clayne Crawford) and the woman in the bed is Nikki (Sepideh Moafi), his ex-wife and the mother of their four children. The two were high school sweethearts who tied the knot right after graduation, but her dreams of musical stardom never really took off. They are still in their old hometown in rural Utah, and tensions between them have grown to the point where they are now in the midst of a trial separation with her remaining in their home with the children and him living with her. aging father. While the two of them try to make the most of this odd situation, there are inevitable problems. And while their three youngest boys don’t quite understand what’s going on, teenage daughter Jesse (Avery Pizzuto) is fully aware and resentful of both of her parents for seemingly abandoning their marriage, making sure to inform David that Nikki already did. a new boyfriend, Derek (Chris Coy), who was the other man in the bed in this opening scene.
Outwardly, David insists he’s okay with this – they agreed that they might see other people during the separation – but it doesn’t take a master sleuth to realize he doesn’t. is not as optimistic about the situation as he claims. As he goes about his routine – doing odd jobs as a handyman, taking care of his dad (while unwittingly continuing the same dynamic they had when he was still in high school), picking up the kids for activities – there is always an underlying sense of tension. David tries to show that he’s okay, but it’s impossible to escape the feeling that he’s a man trapped in a situation he doesn’t understand, and that he doesn’t have the tools to work in a timely manner. completely healthy way. As things get darker for him, we feel for him on a basic level. But at the same time, we cannot fail to recognize it as a textbook case of toxic masculinity and we cannot forget that gun that is still sitting in his truck for the inevitable moment when things are finally going to pass the breaking point. .
So yes, if the title didn’t tell you already, “The Killing of Two Lovers” is by no means a simple cinematic escape. This is a dark and ruthless take on the state of mind of a man who is desperate to get back to the way things once were with his family unit, but who is so consumed by the darkness that builds up in him and his feeling of being trapped in a situation. he doesn’t understand that, if he was in a hurry on the subject, he would probably have a hard time explaining exactly why he wants to put them back together. To highlight David’s hustle and bustle, Machoian employs two bold stylistic gambits – a soundscape of dissonant noises that becomes louder and more insistent when David is alone, and a 4: 3 framing pattern throughout that presents his life as constantly cramped and claustrophobic no matter where he is going or what he is doing.