Once upon a time, Victims and Villains used to do written reviews much like what you’re reading now. I think when we were first starting out I may have been a bit too self-conscious to get in front of a camera to share my thoughts on a film. Maybe you could call it imposter syndrome. This active question of "Who am I that someone would really care what I think about this film?” As Victims and Villains grew into what we now are, the more comfortable I became in front of the camera and the less confident I became behind this keyword.
As a website, we are celebrating ten years of mental health awareness this year. Much like our mad scientist in Dead Lover, we are resurrecting some old habits and traditions. Our goal with 2026 is to bring mental health conversations across the outlets of audio, video, and written word. Placing a greater emphasis on art and its impact on mental health. Dead Lover feels like the perfect place to start. It’s the type of film that we have garnered a reputation for. It’s a weird little indie film that I’m dying to talk about.
Lightbulb Film Distribution
Dead Lover tells the story of a gravedigger (Grace Glowicki), longing for companionship, who embarks on a journey to resurrect her long-lost lover. Lover feels like a love letter to a multitude of things. Stylistically, this film feels like a blend between David Lynch’s Eraserhead and Alfred Hitchcock’s Rope. Outside of a few scenes littered throughout its 86-minute runtime, Lover operates like a stage play, much like Rope. Even looking at the way the film is lit feels like a stage play; see the picture below if you don’t believe me. The visual aesthetic of this movie is hauntingly beautiful. The glow of greens and reds are almost otherworldly.
Even coming back to my previous comment about Lynch’s masterful debut with Eraserhead—this movie has so many moving parts at any given time. I will address that in just a bit though. These moments throughout the film add so many rich, vibrant visuals that feel like eye candy. While Lover certainly looks beautiful, it can sometimes be more style than substance. Narratively, this movie reminded me of Lisa Frankenstein from a few years ago.
Lightbulb Film Distribution
Lisa Frankenstein had its moments but overall felt like a movie that was just okay. In that same breath, Dead Lover falls victim to almost the same issues. Throughout its first act, Lover feels like it struggles to find its footing. It doesn’t feel like it finds direction until the start of the film’s second act, where we meet Glowicki’s lover. The chemistry between Glowicki & her lover is incredible. It’s honestly, aside from the stunning visuals, the film’s anchor. The comparison to Eraserhead is definitely felt throughout that first act. If you’ve seen the debut film from Lynch, you’ll understand the experimental nature to which I’m referring.
Make no mistake, Dead Lover is very much an experimental film in nearly every sense of the word. There is no mistake that this movie not only draws inspiration from Lisa Frankenstein but also the O.G. Frankenstein. With such homage comes the unfortunate predictability. Much like the film’s first act, there is some messiness that lingers throughout the rest of the film. For better or worse, the film never quite feels like it finds a steady pace.
Overall, Dead Lover is a film that is about as alive as the titular character the film is named after. With a series of striking visuals and experimental nature, Grace Glowicki presents an 86-minute film that is as beautiful as it is messy. Glowicki presents a daring vision that is filled with gross-out visuals and raunchy humor that will carve out an identity among the midnight movie crowd.
RORSCHACH RATING:
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Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others. Music by Mallory Johnson and others. We do not own nor claim any rights.
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