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What if Death was a shape-shifting red macaw parrot who is lonely and loves gangsta rap music? Tuesday, the first feature film by Daina O. Pusić, brings tears and belly laughs in a riveting exploration of the end that must come to every living thing. Julia Louis-Dreyfus delivers one of her most celebrated performances as a mother who refuses to let her daughter die. Tuesday daringly leads us on a magnificent journey through the worst imaginable scenarios. It hurts so much to lose someone you love. It’ll be crucial how we go forward from here that we keep alive the memory of them while at the same time making new beginnings for ourselves.

His face revealed something strange curled near his eyelid as his last breath was drawn amidst thunderous onslaught of voices. The camera pans over his face, revealing something peculiar curled up next to his eye. Flapping gnarled wings through the air death (Arinzé Kene) flies away from another victim leaving behind what used to be bright red but now is covered in grimy black dirt. With a loud thud death lands in an adjacent lot. Another man about to kick it stares at Death who is now coming towards him like some huge bird. After performing his somber duty he winces with pain as he approaches this particular one called ‘the boy’. It’s always impossible to take people begging for their own death seriously anymore.

She kisses her fifteen year old daughter goodbye in front of nurse Billie (Leah Harvey), then says something else before she goes out into the porch outside their house somewhere in London suburbs Zora, 15 years old daughter Tuesday (Lola Petticrew) takes deep breaths which she even doesn’t need since there are oxygen pipes sticking into her nostrils. Zora storms out without saying goodbye through the front door Nurse Billie takes Tuesday into backyard for fresh air while setting up her bath. She has to run a bath for herself but she plays Tuesday’s favorite song first.

As this happens, Tuesday begins to slump in the courtyard while Ice Cube’s “It was a Good Day” blares from the speakers. As things become desperate she yanks out her breathing tubes, and is shocked when Death suddenly materializes before her eyes. It is time, Tuesday knows it but could I ask of you one thing? Promptly she asks him if she may have one last conversation with her mother. She courageously asks for the chance to call her mother. On a nearby bench in the park Zora sits by herself ignoring constant ringing of her phone.

Surprisingly, Pusić sets a humorous tone after an eerie opening scene ending abruptly with scenes of death at work in ‘Tuesday’. He is not some malevolent character who derives pleasure from his macabre work as many readers would expect him to be. He is on his way to eternal suffering so he can finally grant them peace after years of tormenting anguish. Tuesday’s reaction towards him took death aback; she knows that there is no escaping death from this type of disease which remains unnamed throughout the story. The first dialogue between them gives amazing insight into two characters at opposite ends of life.

Nothing else would seem odd about what Zora does once we know what reality holds for her beloved daughter whom we occasionally see being washed up, fed or carried with difficulty by her mother in various heartbreaking scenes. It doesn’t get much simpler than Pusić’s approach to illustrating the emotional burden placed upon caregivers that also includes physical and financial aspects. This sort of thing has made Zora almost mechanical during the duties assigned to her by taking care of Tuesday 24/7 because it enables her head stay above water and keep looking into future every single day although it seems like any other moment can sabotage everything she hopes for in life making impossible for her to live anymore because it could never happen. She does not act like Tuesday will die and miraculously get well. Her daughter is going to beat the odds. She’s going back to being a vibrant teenager again.

Zora rebukes Nurse Billie for daring to say that Tuesday’s time is running out on her. Every second Zora has with her daughter should count for something. She hides herself from the ugly truth. Life without Tuesday cannot be imagined by her. Her first encounter with death was out of this world. Just say she is ready to fight dirty. Zora epitomizes every parent’s nerve and willpower. It is evidence that she can do everything, but in the end she pays a truly unanticipated price.

Tuesday deserves praise for its seamless special effects. Death acts weirdly in relation to the characters. For instance, he may hide himself into Tuesday’s ear so as to whisper his thoughts or cupped in her hands…… Pusić adjusts camera angles depending on his own size changes.… I cannot find words to describe how it looks like… The most important thing is that these scenes look real… Physical proximity with Death sneaks up on you through the narrative arc….You are going to blink in disbelief at where Pusić takes these bizarrely intimate moments.

Tuesday’s third act is an emotional roller-coaster ride of grief and spectacle. Some parts aren’t great, but if you’ve ever lost someone close, you’ll know what a train wreck this feels like. Louis-Dreyfus nails the point of no return perfectly well in Veep S5 E2 when Selina tells Catherine about the death of her father right before getting sworn into office herself as president-elect of United States! This actress presents how we feel while watching our loved ones die slowly.…his dirge following such a shattering blow gives us deep insight which we must understand… We would do anything just to see them once again…. Nevertheless, there are some existential questions regarding God, afterlife and purpose within nothingness that might not receive straightforward answers……Live and strive toward genuine happiness…..It’s an offering we owe those who have gone to the grave.

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