In the heartwarming documentary Two Strangers Trying Not to Kill Each Other, filmmakers Jacob Perlmutter and Manon Ouimet take viewers on an intimate journey through the lives of renowned photographer Joel Meyerowitz and his partner, artist Maggie Barrett. At the age of 84, Meyerowitz is celebrated for his pioneering work in color photography, while Barrett, now 75, embarks on a journey of rediscovery after a car accident leaves her recovering and grappling with her own artistic identity.
The film, released in UK cinemas on March 21, 2025, explores a profound narrative: the challenges, joys, and complexities of a relationship in its twilight years. Rather than merely celebrating Meyerowitz’s impressive legacy—his groundbreaking debut show at MOMA in 1968, My European Trip: Photographs from the Car, or his unique access to capture the aftermath of the September 11 attacks—this documentary focuses on the personal dynamics between the couple.
As they navigate the ebbs and flows of aging together, the documentary unravels the intricate tapestry of their shared experiences. A standout moment comes early on when Meyerowitz muses about the inevitability of aging: “Artists reach a certain age and suddenly they paint the skull. Death is coming,” he reflects during a retrospective stage talk. This sentiment echoes throughout the film, providing a profound backdrop against which their relationship unfolds.
Barrett’s journey is marked by hardship and resilience. After her accident, she must relearn how to walk, facing the physical and emotional strain that accompanies such an endeavor. It’s in her moments of vulnerability that the documentary truly shines, allowing candid insights into her frustrations. The couple's history is rich but tumultuous, filled with ex-spouses, addiction battles, and estranged family dynamics that linger in the background, painting a picture of a life well-lived but not without its scars.
In one particularly electrifying scene, Barrett faces Meyerowitz, unleashing her pent-up frustration over how her life and creative aspirations have been diminished in the shadow of his fame. “Take a good fucking look,” she challenges him, highlighting her feelings of sidelining. This moment of catharsis underscores their ongoing struggle to redefine their identities while sharing a life together. The filmmakers capture these conflicts with a keen eye, maneuvering between the couple's harmonious moments and their more turbulent exchanges.
As the couple prepares for a significant life change—moving to Cornwall near Clodgy Point, a place that holds personal history for Barrett—the viewer witnesses the shifting power dynamics between the two. The sale of possessions, including Barrett's journals that she finds necessary to purge, serves as a symbolic dismantling of her past and underscores the fraught nature of their shared history.
Throughout the film, the juxtaposition of their distinctive artistic pursuits becomes evident. While Meyerowitz immerses himself in his photography, preparing for a retrospective that encompasses decades of effort, Barrett redirects her focus on music and writing, art forms that have often eluded the same recognition. She articulates in their exchanges a haunting awareness of her place in both their lives—both as a beloved partner and a frustrated artist.
The filmmakers’ approach of alternating the couple's perspectives fosters a sense of intimacy, offering nuanced portrayals that do justice to their individual struggles. Barrett's firm artistic voice emerges with clarity: she questions why her novel had to be self-published while Meyerowitz boasts a long list of accolades. This tension enriches the narrative, allowing viewers to engage with the complexities of their relationship.
The deep connection between Meyerowitz and Barrett is evident, yet the film resists veering into a romanticized lens. Rather, it challenges the audience to understand love and partnership in its fullest context, recognizing that aging and ambition coexist in complex ways. In a pivotal scene, Meyerowitz dances with vigor, contrasting against Barrett’s quieter, yet equally vibrant, artistic expressions. Together, they demonstrate that love can flourish even amidst struggles, balancing humor and gravity.
The filmmakers skillfully depict that the journey of love is rarely linear, often interspersed with pain and joy, reminding us that every couple has stories untold. By showcasing the beautiful and tragic elements intertwined in their lives, Two Strangers Trying Not to Kill Each Other ultimately inspires a deeper understanding of relationship dynamics as they navigate their later years.
This film transcends a simple home documentary; it embodies a significant exploration of companionship, creativity, and the process of confronting life's inevitable endings. Meyerowitz and Barrett’s story becomes a mirror, prompting viewers to reflect critically on their relationships and the ways in which we all struggle for recognition in love, life, and art.
