Tuesday - O Último Abraço

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.

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.

What would it look like if Studio Ghibli made a live-action film about death and the stages of grief? You would get TUESDAY, a movie about Zora (Julia Louis-Dreyfus), a mother who is in denial over the inevitable death of her terminally ill daughter Tuesday (Lola Petticrew). When they encounter Death itself (Arinzé Kene), they both react differently. To be clear, Studio Ghibli didn't make this, it just felt like it. We have A24 to thank for this endlessly fascinating unique experience. This movie goes to places I never see coming. Amidst the heavy themes and tone, there are moments of humor that lighten things up. I love the small but well thought out details involving world-building, and the mother-daughter dynamic. I'm also really enjoying seeing Julia in more indie dramatic roles recently, very good. Some people might find this movie slightly dragged halfway through, or they might find some scenes a little too weird, but as I must've said in a different review, my favourite kind of movies now are bold, weird and unique. TUESDAY hooked me in the first minute. I found it for rental, but I really hope a streaming service picks it up so it can have a wider audience. We need more movies like this. Remember, death is just a part of life. It's definitely sad, but it isn't inherently bad. Treasure the moments you have, with yourself and the people you love.

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.