Decades later in the year 1993, that same woman (Jacqueline Bisset) is living in New York City and married with two grown sons.

The website's critics consensus reads: "Death in Love has the depth of its convictions, but not even the game efforts of a talented cast are enough to overcome this drama's stilted story and unlikable characters.

"[12] The film was given a rave review by The Hollywood Reporter, describing it as a "stirring glimpse of the ongoing emotional ordeal of a Jewish family..."Death in Love" pierces the senses."

As the eldest son, Lucas oozes charm, not only to attract but to repel...Haas is aptly haunting as the younger brother."

Technical contributions were described as "functional and vital", with Lesley Barber's score highlighted as "richly tempestuous".

[13] The film was favourably reviewed by Screen Daily " the feel of an Ingmar Bergman family story, although the pain in this Jewish family in New York is more spoken than unspoken, as in one of Woody Allen's efforts at transplanting Bergman to Manhattan (Interiors, parts of Hannah and Her Sisters).

The austere interiors of Dara Wishingrad's production design are made even colder by cinematographer Frederick Jacobi's camera."

They also made comparisons with Portnoy's Complaint for its sexual nature and with David Mamet's Glengarry Glen Ross for its depiction of a confidence game.

"[15] The New York Times was less favourable; ""Death in Love" burrows so deeply into the unconscious minds of its depressed New Yorkers that the movie seems to be mumbling to itself in a dream state, driven more by hazy Freudian logic than ordinary cause and effect.