In Lovers of Hate the title plays cleverly on the film’s theme of twisted sibling rivalry. Rudy, a broke, slobby man-child, has recently broken up with his wife Diana and is living out of his car. His brother Paul is the successful author of a fantasy children’s book series. Rudy claims credit for the childhood origin of the story, hence the bitterness and vitriol he directs at his brother. But Paul is everything Rudy is not: wealthy, successful, handsome, fit, cheerful, compassionate. There’s mention of a “novel” that Rudy’s been writing, but all the genetic mojo seems to have gone to Paul; Rudy does nothing but kvetch, snipe, and wallow.

Paul comes to town for a book signing, reuniting with Rudy and Diana, and despite Rudy’s prevarications Paul learns of their split. He heads off to a mountain chalet lent by a wealthy fan to write his next book — and he invites Diana to join him. Too bad that Rudy has the same idea. He finagles his way into the vacation home intending to surprise Paul, only to find himself trapped in the house and hiding from his brother and his ex as they give in to their desire for each other.

Director Bryan Poyser has a strong sense of comedic timing, playing the awkwardness of the situation and the character types against each other to great effect. He elevates silly almost juvenile jokes through deft use of the physicality of the space and the actors. The labyrinthine house becomes a character itself, though it is the strong performances of all three actors that anchor the film. They move from light humor to deeper emotions with the swiftness their close relationships demand. Only people who know each other this well could get caught in such a vicious circle. As the director himself said, it’s a story of three people who love each other but are fundamentally unhealthy for one another.

Overall it is a solid and intelligent production. For me the catch is the character of Rudy. He is so irritating and self-pitying that I found myself rejoicing in his every humiliation (of which there are many). That he would ever land a woman like Diana seems like a male fantasy at best. In fact, of the trio hers are the desires least explored in the film. Despite Heather Kafka’s talent she ultimately seems little more than a pawn in the psychological game between the brothers. Though the film is witty and well-crafted it never rang true for me.

For more information about the film, visit IMDB.