Tuesday - O Último Abraço

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.

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.

Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that's worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.

The film opens by taking us on the daily routine of the Death Macaw as it visits those who have reached the end ... whether they are ready or not. Some go peacefully, others not so much. Soon it visits Tuesday (played by Lola Petticrew, SHE SAID, 2022). Tuesday has a terminal illness and is wheelchair-bound and tethered to an oxygen tank. She knows it's her time, but negotiates with the bird so she has a chance to tell her mother goodbye. A brilliant combination of humor-kindness-sarcasm-pot-music (Ice Cube)-and bathtime cause the death bird to give in and grant Tuesday's wish. Of course, such a decision means death is taking a break, thereby wreaking havoc around the globe.

Mother Zora (Julia Louis-Dreyfus, "Seinfeld", "Veep", 11 Emmys and counting) returns home and reacts quite aggressively ... actually violently ... to the bird that's there to take her daughter. Zora may be keeping secrets from her daughter, but it's with the best intentions to protect her. And protecting her is exactly what she thinks she's doing when she goes to war with the macaw (brilliantly voiced by Arinze Kene). This mother is just not willing to let her beloved daughter go without a fight ... a fight that shifts the tone of the movie, as well as mom's place in it.

It seems negotiations are ongoing between the parties, even though we all know there is no cheating death - at least not in the long run (some runs are longer than others). Yet, most of us spend each day warding off the idea or simply assuming it's not our time. We also know most parents will go to any length to protect their kids and ease any pain they might have. A significant portion of this story is about dealing with grief. Julia Louis-Dreyfus mostly replaces her usual goofy grin with a look of stress and anguish. Facing reality, she's despondent right up until she is enlightened. The filmmaker inserts an insightful blip near the end about God/the afterlife, and the best message is that grief must be dealt with. At some point, we must 'get on with it' and understand that the legacy of loved ones is carried on in our memories. Daina Oniunas-Pusic shows us some real creativity on a familiar topic, and it's pretty impressive.

Opens in theaters on June 14, 2024.

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.

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.