★ 8 / 10
Fables often make for intriguing storytelling and engaging
Brent Marchant
Fables often make for intriguing storytelling and engaging cinematic experiences. And such is the case for the debut feature from writer-director Daina…
Fables often make for intriguing storytelling and engaging cinematic experiences. And such is the case for the debut feature from writer-director Daina Oniunas-Pusic, a whimsical yet profound tale about the acceptance of death (or, more precisely, the ability to move beyond that and learn how to make friends with death). It’s told through the experience of 15-year-old Tuesday (Lola Petticrew), a terminally ill adolescent whose mother, Zora (Julia Louis-Dreyfus), is struggling to accept the inevitable. Zora looks for excuses to avoid spending time with her daughter, because she’s unable to face the impending truth. But, when death itself suddenly and unexpectedly appears to claim Tuesday, taking the form of a talking, shape-shifting parrot (voiced by Arinzé Kene), Zora’s hand is forced. Somewhat surprisingly, Tuesday reconciles herself to her fate rather easily and subsequently ends up spending most of her remaining time trying to help her mother understand the nature of what’s about to happen – and what will unfold if it doesn’t, consequences with larger implications. In doing so, the film gets into some deeply meaningful material, presenting insights that most of us probably have never considered, let alone explored, shedding an entirely new light on the essence of death, as well as the tremendous burden it has placed on its ornithological messenger. The result is a truly moving story, one that deftly mixes joy and sadness, pathos and humor, and anger and sympathy, not only for mother and daughter, but also for death itself and the wider world of which we’re all a part. The narrative certainly gives viewers much to contemplate, introducing notions that might well raise eyebrows and perhaps even ruffle a few feathers (no pun intended) for those accustomed to more conventional interpretations of this subject. But, in the end, the picture provides a fresh, more mature take on these concepts. Admittedly, the pacing sags a touch in the middle, and the flow of the story may seem somewhat strange or a tad unfocused at times. What’s more, some may question the reasoning behind why death appears as a talking parrot (but, then again, why should it necessarily take some of the more familiar forms we have seen in other stories, such as the grim reaper, for instance?). The film features fine performances, most notably the best screen work Louis-Dreyfus has ever turned in. It also respectfully recalls material presented previously in such perceptively prescient tales as the moving Australian comedy-drama “Baby Teeth” (2019) and the classic Twilight Zone episode “Nothing in the Dark” (1962) featuring a very young Robert Redford. Still, the premise may strike some as odd, absurd or implausible, but, then, when have fables, fairy tales or opera librettos ever faithfully stuck to the tried and true? Suspend your disbelief for this one, and sit back and immerse yourself in what it has to say. You may never look at death the same way ever again.
★ 6 / 10
In Order To Understand Someone...You Have To Walk A Day In Their Shoes; Or, The Only Thing That's Certain Is Death And Taxes.
meddlecore
What an intriguingly bizarre little film.A terminally ill teenager, finds herself facing her own mortality.A seemingly selfish mother, refuses to let her…
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.
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TOMATOMETER
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AUDIENCE
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6.3/10
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PLEASE SEED 2160p version. Currently stalled out.