I waited for just the right time to watch writer/director Raffaello Degruttola's To Love a Narcissist, not so much because I expected the film to be a difficult watch but because with a name like To Love a Narcissist you know right off the bat you're in for a seriously intense drama. 

Such is mostly the case here as trust is weaponized to the nth degree and what begins as a passionate relationship spirals into something much more toxically jarring. 

Charlotte (Lyndsey Marshal) and Roberto (Degruttola) essentially live into the life cycle of a devastatingly toxic relationship that starts winningly enough, however, it quickly spirals into a relationship filled with deception, mistrust and, of course, narcissism. 

The film benefits from the intense performances of co-leads Marshal and Degruttola, though I never quite bought them together enough to make the downward spiral convincing. Marshal, in particular, impresses here and continuously made me wish the storytelling had risen to the level of her performance. 

To Love a Narcissist tackles difficult subject matter in a meaningful way. While the bones of the material are familiar, Degruttola gives us some unique turns along the way while always keeping us invested even if the film doesn't quite possess the emotional resonance I'd have hoped and at times we skim the surface of how this downward spiral really happens. 

Lensing by James Anthony Burgess is effective throughout. The original score by Mike Cassedy emphasizes the film's dramatic tones and serves as an effective companion for Degruttola's storytelling. 

To Love a Narcissist is a meaningful and thought-provoking film that won't necessarily be everyone's cup of tea, however, it's the kind of film that likely should be watched more than it will be watched. The film's willingness to speak truth will make it difficult for some, however, for those willing to give themselves to it there will be the reward of a solid indie effort, an impactful story, and a terrific performance from Lyndsey Marshal.

Written by Richard Propes
The Independent Critic