Jennifer Lawrence gives the kind of performance in Die, My Love that demands instant Oscar attention. The reviews, including by our own Richard Lawson, will tell you as much, to say nothing of the ecstatic murmurs that echoed out of the Saturday pre-premiere screening that I attended. It’s a volcanic take on a new mother in crisis that never verges toward easy hysterics or melodrama, lacing a devastating character portrait with the kind of bracing humor and fearlessness that feels utterly singular to Lawrence’s skillset. I heard more instant talk around potential acquisitions and campaigns for this film in the last 16 hours than I have for every other premiere thus far, combined. I also heard instant reactions from sources at multiple studios. Such is the impact of star power when it delivers as hoped.
On Sunday, following a strong reception out of the premiere, Lawrence joined co-star Robert Pattinson, director Lynne Ramsay, and more for the official Cannes press conference. “As a mother, it was really hard to separate what I would do as opposed to what she would do,” Lawrence said of filming Die, My Love. “I’ve wanted to work with Lynne Ramsay since I saw Ratcatcher and…we took a chance and I just sent this to her.” Lawrence, who also produced the movie, then turned to her director: “I really cannot believe I am here with you, and that this happened.”
This is still a Ramsay movie, and fans of the intense, committed auteur know how this story tends to go: A rousing reception on the Croisette, maybe going home with a prize or two, before facing a tougher road with the American film community. Nearly 15 years ago, Tilda Swinton seemed near-assured of an Oscar nom for her harrowing work in We Need to Talk About Kevin, but despite BAFTA, SAG, and Golden Globe nods, the Academy’s distaste for the movie led to her snub. And Ramsay’s last movie, You Were Never Really Here, won both best screenplay and best actor (Joaquin Phoenix) at Cannes before barely making a dent in the year-end awards race. All told, no Ramsay feature has ever received an Oscar nomination.
Die, My Love may well change that, though again—this is a tough, elliptical movie that will not be for everyone. It isn’t more accessible, exactly, but it packs a resonant, emotional punch. And alongside strong supporting turns from Pattinson and Sissy Spacek, Lawrence arguably has never been better. It’s a striking return to the cinephile space for the Oscar winner, a reminder of what she can pull off alongside an ambitious, visionary filmmaker. This is easily her most significant dramatic role since 2017’s Mother!, Darren Aronofsky’s polarizing psychological horror drama, and should result in her first Oscar nomination in a decade (going back to David O. Russell’s 2015 Joy).
Since her breakout in Winter’s Bone, Lawrence’s Oscar history has been entirely defined by her work with Russell (she won in 2013 for Silver Linings Playbook). Believe it or not, she has never starred in a Cannes main-competition title either, until now—so it feels fitting for this new phase of her acting career to unveil itself in such uncharted territory. It’s a fool’s errand to expect a small, idiosyncratic jury to follow up on that narrative and hand Lawrence the best-actress prize, setting her up for a fruitful fall run—but she’s easily the standout of the slate so far. Regardless, this is major work from a major star, and she’ll be playing the long game. It’s conceivable she could go all the way.
This story is part of Awards Insider’s in-depth 2025 Cannes Film Festival coverage, including first looks and exclusive interviews with some of the event’s biggest names. Stay tuned for more Cannes stories as well as a special full week of Little Gold Men podcast episodes, recorded live from the festival and publishing every day.
Listen to Vanity Fair’s Little Gold Men podcast now.
