In Zdenek Jirzsky‘s 2023 film I Don’t Love You Anymore, thirteen-year-olds Marek and Tereza, whose connection begins when Tereza intervenes in a bullying incident involving Marek (an act of pity, she claims, though her true motivations remain ambiguous), form an unlikely friendship and, each haunted by their own personal demons, decide to run away from home together.
While I Don’t Love You Anymore might superficially resemble a Coming-of-Age road movie at times, like A West Texas Children’s Story, the comparison ends there. The film defies easy categorization, blurring the lines between cautionary tale, love story, Coming-of-Age road film, drama, or social critique.
It is impossible not to note the prevailing Eastern European style of the picture, shaped by its Czech, Slovak, and Romanian roots. It infuses every frame with a distinct visual texture. The result is an unmistakeable and unsettling toughness evident in its characters and settings, setting it apart from more conventional entries in the genre.
The film’s heavy use of technology, especially phones, is a recurring motif, creating a sense of detachment. It’s like a shield separating the characters from the harsh reality. The soundtrack adds to the urban feel, but the atmosphere remains cold and empty, starkly contrasting. This coldness is amplified by the film’s realistic, at times slow, pacing, which unfortunately makes the experience feel unnecessarily drawn out. Even Marek and Tereza’s decision to run away fails to inject much-needed energy into the narrative.
While the film features two young leads, Daniel Zeman as Marek and Maisha Romera Kollmann as Tereza, it’s Zeman’s performance, primarily through Marek’s perspective, that truly captivates. He delivers a compelling portrayal, making Marek the character the audience is most likely to connect with and care about. Marek’s relationship with his mom is complicated, and it seems he struggles with her having a new boyfriend. The movie does a great job of showing how he uses his camera to try to stay in control of his life, even though it probably isn’t healthy.
The relationship between Marek and Teresa is a confusing mix of friendship, manipulation, and awkwardness, making it difficult to fully connect with their dynamic. While there are a few positive moments, they are fleeting and ultimately overshadowed by the prevailing bleakness.
I Don’t Love You Anymore bears the apparent influence of the French New Wave, employing techniques like extended shots, a focus on individual experiences, and an acceptance of the absurdity of life. These stylistic choices, reminiscent of filmmakers like François Truffaut, contribute to the film’s distinctive and often unsettling atmosphere. The ambiguous ending, reminiscent of Truffaut’s The 400 Blows, leaves viewers with unanswered questions and a lingering sense of uncertainty. While potentially frustrating for some, this open conclusion invites reflection on the characters’ fates and the complex themes explored throughout the film.
It’s not easy to recommend a film like this. Yes, it features a Coming-of-Age tale with a talented actor, and that’s why I chose to watch it in the first place. But it has a distinct bleak atmosphere – not my favorite thing – and its story is not that memorable. If you are looking for something different, give it a chance, but you may just as well skip it altogether.
I Don’t Love You Anymore (2023) Trailer
