Appearances of the "doppelgänger" twin figures fractured by heartbreak. After seeing Kiss the Murder, may be the only option left, to kneel before Love, Supreme Murderer, kiss him and maybe die ... well, as master Hitchcock said, "the killings should be filmed as love scenes and scenes of love, as murders. " Passional altarpiece which restores in our times, the ethical and aesthetic principles of the Baroque and the fascination with the classic melodrama filled with extreme feelings. The obsession to penetrate double-sided  Loveless-Love is reflected in this piece where the screen painfully splits into two, composing twin figures fractured by heartbreak in a doppelgangers way (that ghostly double that rises to us and bites us when we least expect). Love as a generator of pain and death, madness nourishing love relationships, illuminating a dark statism (which refers to two ways of approaching love it in our skeptical times: Hopper's melancholy and Bacon’s animal brutality). Love as the Supreme Murderer, one who, in the words of Nietzsche: "gives us pain, and, for that matter, life."