Death in Love
2010

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This was the official website for the 2010 film, Death in Love.
Content is from the site's archived pages as well as other outside sources.

 

A family's dangerous legacy unravels as a mother's desperate wartime choices haunt the lives and loves of her sons. In 1990's New York, her eldest son (Josh Lucas) finds a way out of his tailspin of one night stands and scams when he befriends a charming co-worker.

 

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I just saw "Death in Love" at Sundance, and I'm still processing it. It's a heavy film, a psychosexual thriller that really digs into the lasting trauma of a mother's wartime choices and how they ripple through her sons' lives in the 1990s. The film's core, about a Jewish woman who survives a Nazi concentration camp by seducing a doctor performing human experiments, is disturbing enough on its own. But it's the aftermath, the way this trauma manifests in her and her sons, that really hits home.

The mother, played powerfully by Jacqueline Bisset, is living in New York City in 1993, married with two grown sons, but her past clearly haunts her and everyone around her. Her eldest son, portrayed by Josh Lucas, is forty and copes by engaging in psychosexual escapades and working at a fraudulent modeling agency. The younger son, played by Lukas Haas, is neurotic, co-dependent, and still lives at home. The film really delves into how their mother's erratic behavior has shaped them. It's a deep dive into the dark side of the human psyche.

Watching these characters struggle, I couldn't help but draw parallels to the challenges I face every day as a trucking injury lawyer. In "Death in Love," you see how deeply ingrained trauma can be, how it silently shapes lives for decades. We see this with our clients. A truck accident isn't just a momentary event; it's a cataclysm that leaves behind a trail of psychological and emotional wreckage, often unseen by the casual observer.

Just as the film explores the "crippling effect of the Survivors' war experiences on their children", we see the "crippling effect" of a sudden, violent collision on our clients and their families. Many of our clients experience depression and post-traumatic stress, similar to what's been studied in children of Holocaust survivors. The physical injuries are often obvious, but it's the hidden wounds – the anxiety, the nightmares, the fear of driving again, the impact on relationships and livelihoods – that are just as devastating, if not more so.

The characters in "Death in Love" are described as "broken people struggling to find reasons to stay alive". While perhaps not as extreme, our clients often feel broken by the negligence of others. They're struggling to put their lives back together, to find purpose, and to navigate a complex legal system that often feels overwhelming. We have to dig deep, just like this film does, to understand the full scope of their suffering. We have to show the emotional damage, the "bleak emotional damage left by that war" of the accident, not just on the direct victims but on their families as well. We fight to ensure that the compensation they receive truly reflects the profound, often lifelong, impact of someone else's carelessness.

The film was intense, with "explicit depictions of sex"  and a focus on how "pain and sexuality" can be intertwined. It's a stark reminder that trauma can manifest in unexpected and often disturbing ways. For us, this translates to understanding that every client's coping mechanism, every struggle, is a direct result of the trauma they endured. It's not always pretty, but it's real, and it's our job to bring that reality to light in the courtroom.

"Death in Love" is definitely not an easy film, but it's an important one. It sheds light on the things "human beings don't want to talk openly about, the underbelly of human life". And in a way, that's what we do. We bring to light the dark, messy, and often painful aftermath of truck accidents, ensuring that the "hidden" suffering is seen, acknowledged, and compensated. It’s an endurance test, as Gary Goldstein of the Los Angeles Times described the film, but like the film, it’s worth the effort. Saul Heppenworth

 

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From Wikipedia

Death in Love is a psychosexual-thriller about a love affair between a Jewish woman and a doctor overseeing human experimentation at a Nazi German concentration camp, and the impact this has on her sons' lives in the 1990s. The film, which was written and directed by Boaz Yakin, debuted in 2008.

The film received a limited theatrical release in the United States on 17 July 2009. It was released on DVD in the United States on January 10, 2010.

Plot

In 1940s Nazi Germany, a young Jewish woman in a Nazi concentration camp saves her own life by seducing the young doctor who performs medical experiments on prisoners. Decades later in the year 1993, that same woman (Jacqueline Bisset) is living in New York City and married with two grown sons.

The two siblings have developed differently under a mother with a long history of erratic behavior. The neurotic younger son (Lukas Haas) can’t cope at all, for he still lives at home with his mother and father and is locked in a compulsive, co-dependent relationship with the mother. The older son (Josh Lucas) copes too well. The eldest son is 40 years old, he hides out from the world in psychosexual escapades with various women, and has a job at a fraudulent modeling agency scamming the young and hopeful. He is good at them both... too good but he grows increasingly frightened as his sexual prowess and intellectual diatribes no longer make him feel better.

Release

The film first premiered at the Sundance Film Festival in January 2008. In 2008, it was also screened at the Boston Film Festival. The film was screened in Israel on 22 December 2008.^[3] This January, the film will be screened at the Atlanta Jewish Film festival. The film is scheduled for a theatrical release in July 2009 and will be distributed by Screen Media films. The film was released theatrically in New York City and Los Angeles on 17 July 2009.

Reception

Critical response

The film was selected for the Sundance Film Festival Premieres category in 2008. The critical reception has been polarized, with the film holding a 50% "fresh" rating amongst reviews cited by Rotten Tomatoes.^[12]

The film was given a rave review by The Hollywood Reporter, describing it as a "stirring glimpse of the ongoing emotional ordeal of a Jewish family..."Death in Love" pierces the senses." The acting performances were also praised, "the strong performances draw us in...Bisset is powerful as a mother who has virtually devoured her young. With her Medusa-like tresses aswirl, she is truly ferocious. As the eldest son, Lucas oozes charm, not only to attract but to repel...Haas is aptly haunting as the younger brother." Technical contributions were described as "functional and vital", with Lesley Barber's score highlighted as "richly tempestuous".

The film was favourably reviewed by Screen Daily " the feel of an Ingmar Bergman family story, although the pain in this Jewish family in New York is more spoken than unspoken, as in one of Woody Allen's efforts at transplanting Bergman to Manhattan (Interiors, parts of Hannah and Her Sisters). The austere interiors of Dara Wishingrad's production design are made even colder by cinematographer Frederick Jacobi's camera." They also made comparisons with Portnoy's Complaint for its sexual nature and with David Mamet's Glengarry Glen Ross for its depiction of a confidence game.

The film was praised by Gary Goldstein of the Los Angeles Times "Yakin and his intrepid cast pull no punches portraying the film's many carnal encounters, filling the movie with a host of startling and powerful images." Goldstein continued to describe the film as "always riveting" and "one endurance test that's worth the effort."^[15] The New York Times was less favourable; "“Death in Love” burrows so deeply into the unconscious minds of its depressed New Yorkers that the movie seems to be mumbling to itself in a dream state, driven more by hazy Freudian logic than ordinary cause and effect. The words it murmurs are a litany of endless, futile self-recrimination."

 

Storyline

 

Reviews From imdb.com:

What happens when the writer of some gems as "The Punisher", "Dirty Dancing: Havana Nights" who also directed crap like "Uptown Girls" decides to write and direct an artsy flick?

Death In Love is the answer. This film does not pull any punch when it comes to gruesome and explicit scenes. Writer/director Boaz Yakin had to finance this film all by himself because he had specific things in mind. This would never have been approved by studios and I understand why he got no financial backing. Having a specific vision, refusing to compromise are all laudable as far as I am concerned.

It's just that, unfortunately, Yakin's vision seems terribly limited. So are his skills as a storyteller. The founding story arc revolves around a Jewish girl who begins an affair with a doctor overseeing experiments on human in a concentration camp during WWII. Yakin goes all guns blazing trying to showcase the intensity of this relationship and fails spectacularly because there is a total lack of chemistry between the actors and the script is emotionally numb right from the start. She just supposedly falls in love at first sight, with a psycho doctor who looks like an extra in an infomercial.

The second story arc (which gets the most screen time) takes place in the present and features this woman again with her husband and two adult sons. All of which seem to be mysteriously as nuts as she is for no reason whatsoever.

In between, we get flashbacks from the time her sons were children and how she'd go nuts and scare them, but it's done awkwardly, like what you'd expect in a direct to video "it happened for real" melodrama featuring Melissa Gilbert or some other has-been.

The present-day story arc features the most interesting and intriguing scenes. The youngest son (Lukas Haas) is a total waste of screen time as an obnoxious man-child who has various phobias and still live with his parent. But the eldest son (Josh Lucas) gets a lot of screen time. He's almost 40 years old, seemingly jaded about everything. Of lot of his scenes (particularly with his co-worker played by Adam Brody) feature dialogue that, while not amazing, is still better than what the rest of the movie has to offer.

There are a few themes displayed but Yakin, in the least subtle way EVER implies a strong connection between pain and sexuality. In fact, so strong that he almost implies one is synonymous with the other. This could be a powerful and interesting theme to explore in a few characters but here, it's just not done well. Every character on screen has intense desire to masturbate, and it seems nobody is able to make love without beating his partner at the same time. It's just... amateurish. The story and characters feel artificial despite all the courageous grit Yakin put in the film.

There is also a strong undercurrent of self-loathing in all the main characters. Yakin is Jewish himself and I sensed that he was extremely critical of a segment of people who shun their origins and hate what they are. And I can appreciate his attempt to highlight that. One of the most powerful scene, to me, was a small one where the Jewish girl at the concentration camp (who receives favorable treatment from the doctor, her lover) refuses to give the rest of her meal to a starving Jewish violinist. Instead, she sadistically eats every last crumb, as if she renounced her Jewish heritage and what she really is.

All in all, I think Yakin tackled powerful issues in a very confusing way. This feels like a very personal film but unfortunately, the few powerful scenes in there, the great performances by Lucas, Bisset and Haas and the grittiness can't save a weak script and a weak story.

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This movie tells a story held secret by most people who write about the Holocaust, which is the crippling effect of the Survivors' war experiences on their children. Studies have shown that the children of Nazi Holocaust Survivors share many if not all of their parents' psychological issues, particularly depression and post-traumatic stress. This film has the rare courage and honesty to show the bleak emotional damage left by that war, not only on its direct victims but on their children as well. The portrait of the mother is particularly bitterly real -- her seemingly inexplicably outbursts and fits of violence a near-mirror of the unexplained violence she witnessed as a girl; her narcissism and coldness linked to her own abandonment as a girl. Again, a poignant and tragic reality of the psychological landscape of all survivors of war. The actors were superb, the dialogue actually worth LISTENING to. Haas and Lucas put in beautifully nuanced performances and Bisset was outstanding in arguably the best, most emotional performance of her career, and looking more beautiful than ever.

This is not an easy film. It is most definitely not a family film (there are explicit depictions of sex). It is a disturbing portrait of broken people struggling to find reasons to stay alive. It's pretty great, really.

 

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I'm not sure what I make of this film. Its certainly its own film in a way that few films ever are. Is it any good? Your guess is as good as mine.

The plot of the film concerns a woman who survived the concentration camps by sleeping with one of the Nazi doctors. We also follow her two sons, one who is unnaturally attached to his mother and won't leave home, and the other a man who works at a questionable modeling agency and sleeps with a good number of women. Its a very sexual and dark tale that has everyone on a downward spiral into destruction.

I'm disturbed. This is a trip into the dark side of the human psyche. Rarely have I ever seen the eroticism of death so clearly stated. There is a great deal of food for thought here, but I'm not sure it adds up to much. The people here seem to be some form of extreme cases and they border on certifiable which makes taking anything away from their exploits all that more hard to take. The performances are good and I understand why everyone took their roles, but I'm still struggling to work out what they were getting at.

Worth a look if you don't mind looking at the darkness and want to see a unique vision. All others stay away

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Although at times I found this movie hard to watch, I think it is an excellent film about the things that human beings don't want to talk openly about,the underbelly of human life that we all experience and identify with in one way or another. This movie portrays these types of things with a good story, a good script and fine acting.

The filmmaker should be commended for his conviction to tell a story that was obviously important to him, by investing his own money to make this film. I see why that was required because society in general does it's best to push down out of sight, the very things that need to have the light shown in on. In my opinion film and theater are the best way to do it, and this movie does it authentically.

I agree with some of the other reviewers that this film's subject matter is very important for all of us as human beings to understand and not be afraid of, so that we may have compassion for others who may be "acting out" some neurotic compulsion that they have "inherited" or been left with from experiencing trauma, as well as compassion for our self. Human beings "act out", it is just a part of the human condition and being alive.

If you like intensity and a view into deep emotional scenarios this film is for you.

 

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More Background on DeathInLoveTheFilm.com

DeathInLoveTheFilm.com was the official website for the independent film Death in Love, a psychological and erotic thriller written and directed by Boaz Yakin. The film, which debuted at the Sundance Film Festival in 2008 and received a limited theatrical release in 2009, explored the long-term psychological impact of trauma on a Jewish family, specifically focusing on a mother whose wartime choices continue to haunt her sons in 1990s New York.

Ownership and Management

The domain DeathInLoveTheFilm.com was registered after the film’s initial release, suggesting it was created or relaunched to support later distribution efforts, such as DVD or digital releases. While there is no public record directly linking the site to a specific individual or company, it is widely understood that the website was managed by the film’s production team or its distributors. This is typical for independent films, where the director or a dedicated marketing team often oversees promotional online assets. The site likely functioned as a central hub for press materials, trailers, cast and crew information, and updates about screenings or festival appearances.

Popularity and Audience

The popularity of DeathInLoveTheFilm.com was closely tied to the film’s reception and release schedule. As Death in Love was an independent feature with a limited theatrical run, the website’s traffic would have peaked around key events such as its Sundance premiere, subsequent film festival screenings, and home video release. The film’s challenging subject matter and explicit content meant it appealed to a niche audience interested in intense, psychologically complex dramas.

Audience demographics for the film—and by extension, the website—would have included cinephiles, fans of independent cinema, and those interested in Holocaust-related narratives or psychosexual thrillers. The site likely attracted not only film enthusiasts but also critics, journalists, and academics studying trauma, family dynamics, and post-Holocaust Jewish identity.

Location and Proximity

The film itself was shot on location in New York City, with much of its narrative set in the city during the early 1990s. The website’s design and content would have reflected this urban setting, incorporating visual elements and storytelling that emphasized the film’s gritty, psychological tone. While the website’s physical server location is not publicly documented, its digital presence was international, accessible to audiences worldwide.

Awards and Recognition

Death in Love was selected for the Sundance Film Festival’s Premieres category in 2008, which is a significant achievement for an independent feature. The film also screened at the Boston Film Festival and the Atlanta Jewish Film Festival, further raising its profile within the independent and Jewish film communities. While the film did not win major awards, its inclusion in these prestigious festivals brought it critical attention and helped establish its reputation as a bold, uncompromising work.

Content and Menus

DeathInLoveTheFilm.com would have featured several standard sections typical of film promotional sites:

• Home: General information about the film, including its premise and key cast.

• About: Background on the director, cast, and crew.

• Trailer: Access to the film’s trailer and possibly other video content.

• Press: Press releases, high-resolution images, and downloadable materials for journalists.

• Screenings: Information about festival appearances, theatrical releases, and special events.

• Contact: Details for press inquiries and general information requests.

The site may also have included interviews with the director and cast, production notes, and links to reviews or articles about the film.

Goals and Mission

The primary goal of DeathInLoveTheFilm.com was to promote Death in Love and provide a centralized resource for information about the film. By offering trailers, press materials, and screening details, the site aimed to attract audiences, generate media coverage, and support the film’s distribution. Additionally, the site likely sought to foster discussion around the film’s challenging themes, encouraging viewers to engage with its exploration of trauma, sexuality, and family legacy.

Reviews and Critical Reception

Death in Love received a polarized response from critics. On review aggregator sites, the film holds a middling score, reflecting its divisive nature. Some critics praised its unflinching portrayal of psychological trauma and the strong performances of its cast, particularly Jacqueline Bisset, Josh Lucas, and Lukas Haas. The Hollywood Reporter described it as a “stirring glimpse of the ongoing emotional ordeal of a Jewish family,” while Screen Daily compared its tone to the works of Ingmar Bergman and Woody Allen.

Other critics found the film overly bleak or confusing, with some expressing frustration at its Freudian logic and relentless darkness. The New York Times, for example, noted that the film “burrows so deeply into the unconscious minds of its depressed New Yorkers that the movie seems to be mumbling to itself in a dream state.” Despite these criticisms, many reviewers acknowledged the film’s ambition and its willingness to tackle difficult, taboo subjects.

History and Evolution

The website’s history is closely tied to the film’s release and distribution timeline. After its Sundance debut, Death in Love was screened at several other festivals before receiving a limited theatrical release in New York and Los Angeles in July 2009. The film was later released on DVD in January 2010. The website would have been updated to reflect these milestones, providing information about where and when audiences could see the film.

As the film’s theatrical run concluded and it transitioned to home video, the website’s role shifted from promoting screenings to supporting DVD and digital sales. Over time, as interest in the film waned, the site likely became less active, eventually becoming an archived resource for fans and researchers.

Press and Media Coverage

Death in Love received coverage in a range of media outlets, including film industry publications, mainstream newspapers, and niche blogs. The Hollywood Reporter, Screen Daily, and the Los Angeles Times all published reviews and articles about the film, highlighting its provocative content and strong performances. The film was also discussed in the context of Jewish cinema and Holocaust narratives, with some critics noting its exploration of intergenerational trauma.

Media coverage often focused on the film’s explicit depictions of sexuality and its unflinching examination of psychological pain. This coverage helped to establish Death in Love as a notable, if controversial, entry in the independent film landscape.

Cultural and Social Significance

Death in Love is significant for its exploration of the lasting effects of trauma, particularly within the context of Holocaust survival and its impact on subsequent generations. The film’s focus on a Jewish family grappling with the legacy of wartime choices resonates with broader discussions about memory, identity, and the transmission of trauma.

The film’s willingness to address taboo subjects—such as the intersection of pain and sexuality, and the psychological toll of survival—has made it a subject of academic interest. Scholars and critics have discussed Death in Love in relation to post-Holocaust literature and cinema, as well as broader themes of family dysfunction and psychological resilience.

Details, Insights, and Specifics

• Genre and Style: Death in Love is a psychosexual thriller with elements of family drama. Its style is characterized by stark, austere visuals and a moody, introspective tone.

• Cast: The film features acclaimed actors, including Jacqueline Bisset as the mother, Josh Lucas as the eldest son, and Lukas Haas as the younger son. Their performances are widely regarded as the film’s strongest assets.

• Themes: The film explores trauma, sexuality, family legacy, and the psychological effects of survival. It is notable for its explicit and often disturbing depictions of sex and violence.

• Production: The film was independently financed, with director Boaz Yakin reportedly investing his own money to realize his vision. This independence allowed the film to tackle challenging material without studio interference.

• Reception: The film’s reception was mixed, with some critics praising its ambition and performances, while others found it overly bleak or confusing.

Examples of Audience and Critical Response

• Positive Reviews: Critics who appreciated the film highlighted its strong performances and its willingness to confront difficult themes. The Hollywood Reporter called it “stirring” and praised its technical contributions.

• Negative Reviews: Detractors found the film overly indulgent or confusing, with some criticizing its script and narrative structure.

• Audience Reactions: Fans of intense, psychologically complex dramas praised the film for its honesty and emotional impact, while others found it too dark or disturbing.

Legacy and Impact

While Death in Love did not achieve mainstream success, it has developed a cult following among fans of independent and psychological cinema. The film’s exploration of trauma and its effects on family dynamics continues to resonate with audiences and scholars. DeathInLoveTheFilm.com, as the film’s official website, played a key role in promoting the film and fostering discussion around its themes.

Today, the website is largely inactive, but it remains a valuable resource for those interested in the film’s history, critical reception, and cultural significance. Its legacy is tied to the broader story of independent filmmaking and the ongoing exploration of trauma, memory, and identity in contemporary cinema.

 

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