Dead Lover

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In most monster movies, society’s deepest fears and shortcomings are reflected. However, Grace Glowicki’s movie “Dead Lover” takes a different approach by using the genre to critically examine the societal structures that foster these very monsters. This thought-provoking story, co-written by Glowicki and Ben Petrie who also play multiple roles, portrays the “monsters” not as lab-created beings, but rather as deeply ingrained in cultural standards and assumptions. These monstrous elements lurk in every corner of The Gravedigger’s world, casting long shadows throughout.

In an undetermined period before the 20th century, but still strikingly contemporary, the movie’s style is inspired by early silent film techniques – fast-paced scenes, color-tinted sequences, and over-the-top physicality, combined with a contemporary, campy tone. The narrative revolves around a solitary Gravedigger who undertakes a somber journey to challenge life and death boundaries following the sudden end of a passionate romance. Filmed on Kodak 16mm film stock, the visuals replicate the textured richness of early cinema, while visually trapping characters within their confines, underscoring the limitations they face due to societal expectations. Each scene is meticulously arranged as a tableau, interweaving slapstick comedy, eerie horror, and absurd humor to expose the intricate control mechanisms enforced upon women.

The Absurdity of Gendered Expectations, Exhumed

The character of the Gravedigger, portrayed captivatingly by Grace Glowicki (who was also impressive in Booger), serves as both an anti-hero and a symbolic figure, reflecting the conflict between personal freedom and societal norms. Within her community, she is severely criticized for her foul smell, which she endeavors to hide using various scents and potions. This persistent effort to cover up her odor sets in motion her quest for love and belonging.

The town gossips, depicted in a manner akin to Shakespeare’s Three Witches, function as a satirical commentary on societal norms, constantly discussing what makes an ideal woman. Their obsession with marriage as the pinnacle of success appears antiquated and darkly amusing, enhancing the nonsensical nature of the world that the Gravedigger navigates. With just four actors (including the scriptwriters) portraying all characters, this film demonstrates the strength and ingenuity of limited resources and creative thinking.

As a true film enthusiast, I must say that both Leah Doz and Lowen Morrow truly excel in their roles, particularly in portraying the complex antagonists. Their performances are nothing short of mesmerizing, as they infuse these characters with over-the-top gestures and bitingly funny one-liners. Yet, they skillfully challenge the confines of these stereotypical roles, revealing their internal conflicts and contradictions. The result is a transformation of societal archetypes into multidimensional, satirical figures that enrich the film’s experimental atmosphere and incisive commentary.

In a heart-wrenching twist, the lover of the Gravedigger, who had crossed paths while burying his sister, tragically perishes at sea. Her sorrow transforms into a vessel for criticism: it questions the hypocrisy in society that permits men like her lover to indulge in carnal passions while women are shamed for their desires; it satirizes marriage traditions by fashioning a monstrous creation from his former engagement ring finger; and it denounces the waste of female intellect within systems that undervalue them. In a climactic outburst, she exclaims, “I am a God among men!”, a statement that pierces through the humor to unveil the seething anger hidden within the film.

‘Dead Lover‘ Belongs to a Cinema of Subversion

A significant part of the appeal of “Dead Lover” stems from its unique twist on genre tropes. Typically, monster movies portray humanity battling against an alien menace for survival. However, this film introduces a different perspective: the monster isn’t the adversary; it’s a being spawned from love, sorrow, and rebellion. The true antagonists are the oppressive structures within society that limit and suppress women’s freedom. The Gravedigger’s quest to revive his lover is fueled not only by personal grief but also by the deeply rooted notion that women should sacrifice everything – their lives, bodies, and spirits – for love. This concept may be ancient, but the film skillfully reveals it as both ridiculous and tragic.

In a captivating twist, the movie titled “Dead Lover” turns harsh criticisms into enjoyable and amusing experiences. The film’s humor strikes a chord because it boldly confronts the unpleasant. From the exaggerated attire of her lover, fluttering extravagantly in slow-motion scenes, to the bizarre intimacy of nuns secretly venturing into the woods for clandestine meetings, every humorous moment is brimming with satire. The absurdity of the Gravedigger’s experiments, fueled by a remark from her lover, “You are not a metaphor of beauty, you are beauty“, serves both as a critique of traditional romantic ideals and a tribute to women’s tenacity and brilliance.

The significant quote delves into the societal obsession with a woman’s inherent beauty, viewing it as something naturally given rather than acquired or nurtured. In this sense, beauty becomes a biological commodity that upholds traditional power structures, despite being glorified. However, The Gravedigger’s journey transforms this narrative by highlighting her intelligence and perseverance as her defining traits, thereby disputing the idea that a woman’s value is solely based on her looks instead of her actions or intellect. What sets Dead Lover apart is its bold and incisive critique of societal stereotypes about gender and power through a mix of satire and absurdity.

Holy Cinema, Unholy Traditions

The movie doesn’t just criticize the way genders interact; it also targets the deeper inconsistencies found within influential organizations like the Catholic Church. In a powerful scene, two nuns secretly engage in a forbidden romance at night, yet during the day they condemn the actions of the Gravedigger while standing beside their priest. The striking difference between their private indulgences and public morals highlights how hypocritical societal norms can be, as even those who uphold them don’t always adhere to them themselves. In essence, this movie poses a question: Why do we so quickly cast judgment on others if we ourselves are just as flawed?

In the year 2025, this pointed critique seems strikingly apt, given that established institutions still wield significant power over personal lives, frequently falling short of their self-imposed ethical benchmarks.

In 2025, this incisive observation resonates strongly, as these longstanding institutions continue to have a substantial impact on individuals’ lives, yet they often struggle to maintain their own moral principles.

DIY Filmmaking at Its Finest

The DIY vibe of “Dead Lover” is clear in every scene, as it showcases a compact cast and inventive creativity that fuels experimentation and originality. The film’s score by U.S. Girls, which combines the ethereal ambiance of Beach House with the dramatic flair of David Bowie, adds another layer to its story, infusing emotional complexity and unity into its fast-paced narrative. All these components make “Dead Lover” not just a sharp criticism but a tribute to independent filmmaking’s knack for breaking barriers and defying norms, even those set by the traditional movie industry.

If you find yourself captivated by the charm of movies like The Love Witch, Rocky Horror Picture Show, or John Waters’ camp style, combined with early color techniques in silent cinema, a gothic aesthetic inspired by Siouxsie Sioux, screwball comedy, and elements of exploitation films, then you absolutely need to watch Dead Lover. This film uniquely amalgamates these influences into a one-of-a-kind production, skillfully maintaining a sharp critique while keeping things delightfully fun and entertaining.

Will We Ever Learn From Our Monsters?

In the play “Dead Lover,” its real brilliance shines as it reflects societal quirks and traditional power structures, particularly patriarchy, all while keeping viewers entertained amidst the suffering. The grotesque serves a therapeutic purpose, camp becomes insightful, and the Gravedigger’s daring innovations symbolize every woman who has been asked to make sacrifices for others.

In the last moments, as the images of Dead Lover fade into the enveloping blackness of the cinema, a single thought remains: Will humanity ever grasp lessons from its monster narratives? Most likely not. Yet, we’re blessed with sacred, innovative films such as this one to help us navigate the confounding irrationalities of our existence. Dead Lover premiered at the 2025 Sundance Film Festival; it will be shown again on Jan. 30 and Feb. 1. You can find the screening times and details here.

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2025-01-27 03:04