Tuesday

Tuesday (Lola Petticrew) is a dying teen. She is visited by death in the form of a size-changing macaw. Her mother Zora (Julia Louis-Dreyfus) is struggling with the issue.

This is a weird telling of this challenging subject matter. I can say that this movie has the benefit of being unique. I don't think that death has been represented in this way. I do have a couple of minor concerns. The tonal changes can be jarring. I would also like mother and daughter to have the same accent. I do get it. When Julia Louis-Dreyfus wants to do your little quirky British indie, you don't say no and you can't demand that she adopts a British accent. Those are minor issues when compared to the outsized uniqueness of the concept. In another ten years, I will remember this movie.

Death is never an easy thing to accept whether you know it may be time for it to visit you personally or when it's come to someone you love. I've had 2 liver transplants with the first being in 1989 and the second in 2023 and I'm only 35 years old. My Mom has been there beside me every...step..of..the..way, not just as my mother but also my best friend. The emotions of Julia Louis-Dreyfus in this film is not only the emotions of my mother and every loving mother on this planet, it's emotions I connected with so much due to the lengths I know my Mom has gone to to make sure I get at least one more day on earth with her. When I'm in pain, she's in pain just like Tuesday and her Mom Zora are.

This movie highlights grief, learning to let go even when you want to hold on to the ones you love with all your might as well as understanding the pain from both sides of the one losing/have lost someone and the one that is about to pass on.

My Mom cried just from watching the trailer as she connected with Tuesday's Mom's emotions just by imagining if it were her and I that experienced this incredible story. This film is truly one of a kind and something that not only made it's way to my heart but decided to stay there indefinitely.

Julia Louis-Dreyfus, after a considerable hiatus, finally graces us with her presence in a project outside the realm of blockbusters. This welcome departure was facilitated by A24, and while I cannot ascertain whether it was Daina Oniunas-Pusic's brainchild, it proves to be a casting coup of the highest order.

The negative reviews that have plagued the film reveal a fundamental misunderstanding. It appears that those drawn in by the trailer, expecting a comedy or drama featuring Louis-Dreyfus, were sorely disappointed. At this juncture, attempting to explain the nuances of metaphorical cinema and subtext to such individuals seems futile. While one cannot compel everyone to watch every film, it's lamentable that they do so only to inundate these exquisite works with negative commentary.

This marks my inaugural foray into the world of Daina Oniunas-Pusic's oeuvre, and I eagerly anticipate delving into her filmography retrospectively.

The film's sound design is a tour de force, demanding to be experienced with a top-notch audio system. The subtle nuances and immersive soundscapes elevate the viewing experience, adding layers of depth and meaning to the narrative.

One can only hope that A24 will extend the reach of this cinematic gem to a wider audience, both in cinemas and through home video releases, with Turkey being a prime target for such an expansion. The film's universal themes and emotional resonance have the potential to captivate viewers across cultures and continents.

Oniunas-Pusic's direction is assured and confident, showcasing a deft hand at balancing the film's surreal elements with grounded emotional truths. The film's visual style is striking, with its muted color palette and dreamlike imagery creating a haunting atmosphere that lingers long after the credits roll.

Louis-Dreyfus delivers a nuanced and understated performance, showcasing her versatility as an actress. She effortlessly embodies the complex emotions of a woman grappling with grief and loss, her subtle facial expressions and body language conveying a depth of feeling that transcends words.

The supporting cast, including Arinzé Kene and Lola Petticrew, also deliver strong performances, adding further layers of complexity to the film's emotional tapestry. Their interactions with Louis-Dreyfus' character are both tender and heartbreaking, highlighting the power of human connection in the face of adversity.

"Tuesday" is a film that defies easy categorization. It's a meditation on grief, loss, and the enduring power of love. It's a film that challenges viewers to embrace the unknown and to find beauty in the mundane. It's a film that lingers in the mind long after the final frame fades to black.

Like a lot of A24 films, it's unexpected and kind of a slow burn, but somehow really engaging and ultimately worth watching. I sat in the theater like "what?" But I haven't stopped thinking about it since, and Julia Louis Dreyfus could get nominated. Give it a chance, and if you've ever lost someone, you'll relate. It wasn't the "Terms of Endearment" mother daughter movie I expected-the conflict is present from the very start. Their chemistry takes a while to establish, and there are some unanswered questions about why the American mom has a British daughter and where is the dad through all this.

Who doesn't love when a film subverts your expectations? That's certainly the case with Tuesday, the directorial debut of Daina O. Pusic. We follow the story of a mother desperately trying to avoid the impending reality of the passing of her terminally ill daughter (the titular Tuesday). At a glance, as it's a premise that has certainly been done before, you wouldn't be remiss to assume this film to be an emotionally heavy tale, but somewhat simple and banal. But it's not what you would expect. Pusic has managed to shake up the formula and with the help of some magical realism, has told this story in a fresh, unique and interesting way.

We get Death in the form of an anthropomorphic macaw bird who swoops in when your time is up, wrapping you under his wings and taking your soul away. When it is Tuesday's time, whilst she feels she is ready, she knows her mother is not, and so attempts to delay the inevitable by befriending Death and seeking his help in assuaging her mother. Naturally, her mother is not easily persuaded and furiously bargains with Death; eventually taking matters into her owns hands with surprising results.

What follows is a somewhat absurd narrative, with many moments that are both shocking and humorous, but equally heartfelt. It is beautifully sincere in its examination of the complexities of accepting death; sold brilliantly by the performances of Julia Louis-Dreyfus (of Seinfeld and Veep fame) and Lola Petticrew, who bring emotion and authenticity to their respective characters. The pacing was a bit jumbled, with the first half dragging slightly, and the latter half, which introduced many interesting and frightening existential dilemmas, feeling quite rushed and underexplored. And whilst, the VFX interpretation of Death was mostly good, it is the deep, dulcet tones of Arinzé Kene, both unsettling and ominous, yet sympathetic and comforting, that really sells the character. Pusic is definitely one to watch.