Jennifer Lawrence’s Worst Nightmare

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Lynne Ramsay’s film, featuring Jennifer Lawrence, is a raw and intense portrayal of a woman pushed to her limits. Lawrence plays Grace, a new mother isolated on a Montana ranch with her unreliable husband, Jackson (Robert Pattinson), his overbearing mother (Sissy Spacek), and a baby. Feeling trapped and overwhelmed, Grace expresses a wild mix of desire, anger, grief, and frustration. The performance is physically and emotionally charged – we see her engaging in passionate, rough sex, damaging property in fits of despair, and even putting herself in danger. It’s a powerful, destructive, and surprisingly humorous performance that’s already generating Oscar talk.

Jennifer Lawrence was the first actor attached to the film. Producer Martin Scorsese discovered the source novel at his book club and believed the lead role would be a great challenge for her. Lawrence then actively worked to get Lynne Ramsay to direct, as she was a long-time admirer of Ramsay’s work, especially her first film, Ratcatcher, and felt the story needed Ramsay’s unique and intense style. Recently, I spoke with Ramsay and Lawrence – who was wearing a black gown by The Row on her way to the CFDA Awards and playfully acknowledged being overdressed – about the film’s depiction of postpartum experiences, the challenges of filming intimate scenes while pregnant, and the meaning behind its dramatic conclusion. (Be warned: spoilers for Die My Love follow.)

Many reviews have labeled this film as being about postpartum depression. At the Cannes Film Festival, you reportedly dismissed that idea, saying it wasn’t true, and I’m curious to hear your own interpretation of the film’s themes.

Lynne Ramsay: Oh, I don’t remember saying that! [Laughs] But yes, it’s not a single issue. It explores a marriage falling apart, the feeling of isolation, and a loss of creative energy. I think it’s too simplistic to define it as just about one thing. People often gravitate towards those quick summaries, but they can be overly reductive. For me, the film is meant to be an immersive experience – something you connect with or don’t. It’s inspired by a novel that’s a dark, surreal fairy tale, and features a character who is bold and doesn’t apologize for who she is. It was actually very freeing to portray such a character.

When asked if she initially interpreted the book as being about postpartum, Jennifer Lawrence explained that it was, but she was even more captivated by the character herself – a role she described as unique and exceptional. The character reminded her of Gena Rowlands in A Woman Under the Influence, but with a deeper dive into her inner thoughts and feelings. It wasn’t until she began discussing the role with the director, Lynne, even before filming began, that the story’s scope expanded. Bringing in Rob, who was also a new parent with a partner, added another layer of authenticity. Lawrence felt the postpartum aspect ultimately served as a catalyst for exploring this complex character in an intense situation, and for showcasing a particularly challenging relationship fighting to endure.

Someone mentioned you’ve watched the film over ten times. Do you notice anything new with each viewing?

JL: This movie has been the most impactful of my career. While filming, everything felt incredibly real to me, and for my character, Grace, it is real – not a fantasy. I don’t even recall consciously deciding to fully commit to that reality; it simply was. I was also pregnant during filming, which I think created a sort of blind spot. I learned that suicide is the leading cause of death for new mothers, but I honestly couldn’t process that information at the time. I just couldn’t bring myself to fully confront it.

I remember watching it while I was nine months pregnant, and it really hit me – a lot of it didn’t feel real, more like a strange dream. I started realizing it was all symbolic. Lynne agreed, and Rob pointed out I kept hoping the characters would reconcile. I guess I just took everything at face value. Now, thinking about it, I wonder if I was just naive, or if that was a deliberate artistic choice.

After my second baby was born, I experienced severe postpartum depression, something I hadn’t dealt with before. I had to re-watch the birth video several times while I was going through it, and it was a profoundly strange and difficult experience.

I’ve watched the movie several times, and I find it gets funnier with each viewing. Lynne, you’ve mentioned aiming for a dark comedy tone – do you think audiences are immediately picking up on that?

L.R.: I think some viewers initially see it as very serious. But I’ve always liked mixing light and dark elements. It was crucial to me that the film had humor. The character is often really funny, even if she’s inappropriate. She’s also very honest and has a childlike quality. I knew I wanted humor and a touch of warmth, because a completely bleak story didn’t feel right for her. She’s a strong, resilient character who’s been through a lot, and she’s very bold.

I think she’s a lot of fun and I’d enjoy spending time with her. However, L.R. isn’t so sure about that. [She laughs.]

She just comes across as someone who’s enjoyable to be around. Interestingly, within the story, she’s the only character who seems grounded and sane while everyone else is behaving erratically – her husband avoids intimacy, her mother-in-law sleepwalks armed, and people constantly question her mental state after childbirth. It’s almost refreshing to watch her refuse to play along with the chaos. If you were to meet her at a party, what guidance would you offer?

L.R.: Don’t burn the forest down! (Apparently, her character does exactly that at the film’s climax – more details and spoilers follow.)

I was going to suggest she should get medication and that she was definitely cheating in the movie! But after rewatching it, I’m not so sure about the cheating part. I’m still a little unsure.

Lynne was asked for her opinion on whether the character was having an affair with her neighbor, LaKeith Stanfield. Lynne responded that she’ll let the audience decide, but believes the character herself suspects infidelity and feels it deeply. However, Lynne notes this idea doesn’t quite fit the novel’s themes, as the neighbor represents a fantasy stemming from the character’s lack of intimacy with her husband. She believes the husband is too intimidated to be intimate with her.

You mentioned she’s innocent and direct, which you found charming. Jennifer, you’ve talked during this press tour about always being honest and direct yourself. Did you see that quality in Grace and connect with it?

J.L.: I didn’t really, though I might not be fully aware of my own tendencies. But thinking about her straightforwardness actually helped me with the role – it felt like nothing she did was for show, just genuinely how she saw things.

I noticed you called Jennifer “punk” in a recent interview, Lynne. Could you explain what you meant by that? Lynne responded playfully, saying she was surprised to even be asked that question, as her younger self would have been shocked.

I was thinking of it in a very British, punk rock kind of way. It was incredibly freeing to see a character who was so unusual, over-the-top, and yet still lovable. It had that same bold, rebellious spirit.

J.L.: Well, Grace is very punk. I was a cheerleader. I had pink Vans.

L.R.: Yeah, Grace is punk. You were a cheerleader.

Your previous films, like ‘We Need to Talk About Kevin’ and ‘Mother!’, have explored the challenging aspects of motherhood.

L.R.: That was a joke! [Laughs]

Yes, it also had elements of a romantic comedy. What specifically appealed to you both about that genre?

L.R.: “Kevin” was fundamentally about a difficult mother-son relationship and a mother questioning her love for her son. This project felt different because Grace clearly loves her child, and she has a lot of other complexities. I imagined her as someone with a creative past, perhaps with some unresolved issues. What Jackson initially finds attractive about her – her free spirit, her sexiness, her adventurous nature – eventually becomes challenging for him. He starts to wonder how to navigate that, realizing you can’t change someone’s core personality. If he tries to make her conform, he risks losing the woman he originally fell in love with.

Becoming a mother is the most important thing someone can experience, and that experience can lead to significant personal growth.

During the filming of Mother!, you suffered a torn diaphragm due to the physical demands of the role. This new film also required a lot physically. How did you avoid a similar injury this time?

J.L.: This role didn’t require me to go to the same emotional or physical place. Unlike Mother!, where I had to imagine the devastating loss of a baby – even before becoming a mother myself – this film didn’t involve that. Now, as a mother, I understand how crucial stability and consistency are for young children. However, I wasn’t playing the babies’ – Victoria and Kennedy’s – actual mother. I focused on building a comfortable relationship with them, but knew that anything I did wouldn’t fundamentally change their lives. They might think, ‘That lady is acting strangely,’ but they’d be fine. I wasn’t their source of security. So, while the performance might seem similar to the audience, it felt very different for me as an actor.

During a conversation after a SAG screening last weekend, you mentioned how liberating and revitalizing it was to work with Lynne and with female directors overall. You described how some male directors feel the need to constantly assert their authority, to make it known they’re ‘in charge.’

J.L.: Not all men! [Laughs] But I’ve definitely noticed a difference with female directors. They don’t feel the need to ‘overdirect.’ Sometimes with male directors, there’s this constant need to appear to be directing, even when it doesn’t actually improve the film – it can actually be frustrating. When I think of the term ‘auteur,’ I picture someone controlling and… well, a little neurotic!

Lynne was a different kind of director. She meticulously created the environment for a scene – using music, discussion, and the set itself – to ensure everyone understood her vision. Then, she’d step back and observe. Often, something unexpected and good would emerge from that distance. She’d then reappear, sometimes with a Scottish lilt, and offer encouragement like, “That’s great, great, yeah, do it again!” Or, if we accidentally broke character and laughed, she’d embrace it, saying, “No, it was great. I liked that you laughed. Do it again.”

Really good impression.J.L.: Thank you.

L.R.: That’s a terrible Scottish accent.

J.L.: No, it’s not.

Lynne, could you describe your approach to directing? How do you create an environment where actors feel both comfortable and empowered?

L.R.: It really varies depending on the project. Sometimes a film requires very precise control, meticulously planning each shot. But for this one, I wanted the actors to have a lot of freedom. I genuinely enjoy working with actors, and when there’s real trust, something special happens. I’d often let scenes play out longer than necessary, which could be a little unsettling – you’re thinking, ‘Where is this going?’ – but often, that’s where the most interesting moments emerge. I gave the actors room to explore the set and their characters organically. For example, in a scene where Grace is bored, she spontaneously tipped over a laundry basket with her toe – it conveyed a sense of underlying anger that I hadn’t directed. Similarly, she licked the window, which was unexpected but felt both funny and indicative of her character feeling trapped and wild. I think it was about creating space for those small, authentic moments to happen.

What goes through your head in those moments, when you’re fully immersed in the scene and the camera is rolling – right before you do something like lick the window?

J.L.: I always feel anxious before they say “action!” I get self-conscious and worry the camera crew thinks I’m just pretending. It’s silly, but I do. I’m afraid of embarrassing myself in front of everyone on set. But then they call “action,” and thankfully, my mind shifts focus. Like she said, the trust we all share really helps, and everything falls into place. Strangely, being pregnant also played a role. It felt very primal, almost like an animal instinct took over. You have these new, protective feelings, and you become incredibly focused. That definitely contributed to the feeling of being trapped and pacing, like an animal in a cage. So then she says “action” and…

The interviewer asked Jennifer Lawrence if being nude while pregnant for a film felt protective or more vulnerable, especially compared to a comedic nude scene in ‘No Hard Feelings’. Lawrence responded that she isn’t concerned with nudity and wanted the director to have complete artistic freedom, encouraging naturalness. She felt that being pregnant actually relieved anxiety about her appearance. Unlike preparing for ‘No Hard Feelings’ where she dieted and exercised, she was pregnant during filming and simply didn’t have the energy or desire to restrict herself. She described feeling liberated and even refused to have a close-up photo of her cellulite retouched, proudly declaring, “That’s an ass!”

L.R.: Which I’d have loved.

J.L.: Yeah, you would’ve been pissed. You would’ve never even said yes.

L.R.: No way.

There’s a moment in the show where Grace genuinely seems to be enjoying herself, drinking beer and dancing to “Hey Mickey!” with her baby. I wanted to explore what that looks like when you’re just really bored with your kids and feel like you need to create some entertainment for both of you. For me, it’s something simple. My youngest loves it every time when I make a fart noise! It’s a classic, silly trick. It doesn’t work on my older child, but with the younger one, I can listen to a podcast with one earbud in while he’s chewing on things, and I just put on a happy face.

I’m really into true crime podcasts right now! I’m currently listening to Dateline, 48 Hours, 20/20, Anatomy of Murder, Crime Junkie, Red Crime, It Could Have Been Me, and I Survived – and honestly, that’s just the beginning!

Very light.J.L.: Very light.

I noticed you sing in several of your films, but I remember you once saying you actually dread having to sing for them. Is that still true?

J.L.: Yes, it is.

It’s still upsetting to be asked to do things you dislike, isn’t it? What motivates you to agree?

J.L.: Sometimes you don’t have a choice. Like when Emma Stone shaved her head for a role – you can’t always refuse. I personally don’t enjoy singing, but I’ll do it if the situation requires it.

I have a wonderful recording of Jennifer Lawrence singing “The Beast in Me,” and I plan to include it on an album.

J.L.: No, you’re a bitch and you’ll never do that! [Laughs]

I heard you were composing songs for her, Lynne.

L.R.: I write songs because making movies is a slow process. Songs are much quicker, and you can essentially tell a whole story in one song. I was tired of waiting years for a film to come together, so I wrote around 150 to 200 songs. It’s incredibly freeing – it’s immediate, like a quick snapshot, compared to the long process of filmmaking. Sometimes you just need that kind of creative outlet.

Someone asked J.L. if he’d record a song for Jennifer, and honestly, his response was pretty funny. He said he’d do it if she asked, but then jokingly pleaded with us not to ask! He finally gave in, saying he’d do anything just to get some attention. It’s clear he’s a bit of a showman!

I really like Jennifer’s voice. I’ve actually recorded a great version of “The Beast in Me.” We were working with George Vjestica, Nick Cave & the Bad Seeds’ guitarist, and it was incredible jamming with him – I couldn’t believe we were playing with such a talented musician!

J.L. explained that the person was trying to help him find the right note, but it sounded really bad. He imitated the person singing, “Meet me at C,” and then imitated his own awful attempt, just making a drawn-out, off-key sound.

I’ve been thinking a lot about how the film ends, and it’s so open to interpretation! Is she walking into the flames she created, finally succumbing? Or is it an escape, a kind of rebirth? Maybe it’s even her dying. The director explained that she does set the whole thing ablaze, and honestly, they wrestled with a few different endings. They even considered her saving him – a really sweet, romantic idea. But ultimately, it’s all symbolic. We never see what she’s written, just the act of destruction, and then she’s back where it all started, in the kitchen. It’s heartbreaking, seeing her look at her life as if she’s a stranger, observing something he built. They’ve talked about doing another director’s cut, which sounds amazing, though they joked about it being three and a half hours long! They’re leaning towards making it shorter, which I think is a good idea, but I’m still captivated by all the possibilities.

J.L. believes the story concludes with a mother’s greatest fear: the idea that her children are better off if she’s not in their lives, and that she’s holding them back. She apologizes for delivering such difficult news and wishes she could offer a more positive outlook.

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2025-11-06 17:58