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.

Interesting take on the concept of death and dying I kept waiting for the dream sequence to end. Then I realized this is not a dream. The movie runs a bit slow and somewhat disjointed. For instance, how many days, weeks, months does the movie cover. Some scenes change without explanation. More character building and backstory development would be helpful. Louis-Dryfus is stepping away from the roles she is usually seen in. She doing a good job as a dramatic actress. The acting is good by You definitely have to pay attention which can be hard when it begins to lag. If you are a Syfy fan, you may like this movie.

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.

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.

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.