Tuesday

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.

What an intriguingly bizarre little film.

A terminally ill teenager, finds herself facing her own mortality.

A seemingly selfish mother, refuses to let her daughter go.

A young nurse must constantly deal with people navigating their way through this scenario.

While a tortured parrot manifests as the embodiment of death.

Exoterically, the stricken young woman- who goes by her middle name, Tuesday- is forced to confront her own mortality, when she is visited by a harbinger, in the form of a talking parrot, whom acts as the embodiment of death.

Her mother- Zora - burdened by the state of her daughter's condition...but doing the best that she can...has lost her job, and is forced to sell all their worldly belongings (to pay for her nursing care).

Though, she pretends to go to work each day, so as to bring a sense of normalcy to their upended lives.

Upon returning home on this day, however, she is confronted by her daughter, who warns her of her impending death.

During which, she too, must come face-to-face with death, in the form of the talking parrot.

To the point that she unwittingly brings about a zombie apocalypse- after taking matters into her own hands- in an attempt to stave off the inevitable.

Until she is forced to grips with the question of whether she is doing this to protect her daughter (from the inevitable); or herself (because she's unwilling to let go).

Making what ensues the last desperate act of a woman whose life has already began to condition her to accept such a reality (ie being forced to purge all her worldly possessions...with extra symbolism being added via the stuffed bishop rats, that represent her loss in faith).

Which is an example of how expertly esoteric messages are symbolically spun into this film.

For example...you find yourself asking the question...why a parrot?

The answer to which requires a multifaceted symbolic reading.

On the one hand, it relates to the longevity of a parrot's lifespan, being very close to our own; while, as a pet, they act as close companions to us humans; and possess the ability to mimic our actions, and personality.

On another, it simply works as a play on words between parrot and parent.

Though, on it's most esoteric level, it relates to the Rumi poem about the parrot and the merchant.

A tale in which the cage that acts as the prison of a domesticated parrot, is likened to how the body acts as a prison to the soul of a person, trapped in the material world (which is the realm of suffering in both Buddhist and Islamic philosophy).

An idea that obviously resonates with the situation in the story we are presented with here.

To be honest, I really didn't think I was going to like this film at first.

But, by the end, it had won me over.

Leaving me pleasantly surprised...despite the unpleasant nature of the content it acts to confront.

It's such a wonderfully weird- and dark- little film.

With an excellent performance by Julia-Louis Dreyfus as the mother.

Though, it's most commendable aspect, is how it is able to lighten the concept of dealing with the untimely- and unjust- death of a child...while dealing with the dark roads- those left to deal with the aftermath- are forced to traverse.

An excellent first feature from rookie director Daina O. Pusic.

Recommended if you like films like Beau Is Afraid...which I feel like it is somewhat akin to, in both subtle- and not-so subtle- ways.

6 out of 10.

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.

Minor complaint: there are several minor plot gaps and some timeline questions, clearly some scenes were cut which would have pulled it together better, but nothing important.

Reviewers saying it's confusing or boring are likely more upset because it upsets them on religious grounds, but don't want to say so. If you are easily upset by premises which do not support conventional Western concepts of God or especially Christianity, then this is not the movie for you. Go watch something by Mel Gibson. Likewise if you require male characters; there really aren't any.

If you don't like fantasy or tge supernatural, this is also not for you.

But for me: powerful acting, beautiful special effects, and strong dialogue writing. I watched it twice back to back.

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.