Tuesday Review: Julia Louis-Dreyfus Shines in a Dark Fairytale

The debut film from Croatian writer-director Daina O Pusić, titled “Tuesday,” sets itself against a UK backdrop and delves deep into themes of mortality and hope. The narrative centers on a 15-year-old girl named Tuesday, portrayed by Lola Petticrew, who is grappling with a terminal illness. As she comes to terms with the reality of her predicament, she encounters an unexpected visitor: Death, voiced by Arinzé Kene. This incarnation of Death takes the form of a disheveled, distinctly unglamorous parrot that flits around the world, extinguishing the lives of those nearing their end.

What distinguishes Tuesday is her resilience and compassion, which unexpectedly halt Death in his tracks. Despite his grim role, the parrot finds an unusual ally in Tuesday. She tends to the dirt that clings to his feathers, offering a brief reprieve from the overwhelming despair that surrounds him and floods his senses. In an intriguing twist, this act of kindness allows her a bit more time to live. Meanwhile, her mother, Zora, played exquisitely by Julia Louis-Dreyfus, is out in the world selling their belongings to fund her daughter’s treatment. For Tuesday, it’s about making the most of her remaining moments, yearning only to say farewell.

However, Zora isn’t prepared to surrender her daughter so easily. This leads to a fierce battle between a loving mother and the inevitable force of Death itself. Pusić employs a meticulous and elegant approach in her direction, particularly in the film’s first act. She has a talent for embedding rich layers of narrative within seemingly mundane details, giving depth to the story. Though the pacing may falter as the film progresses, it is undeniable that this is an impressive and confident debut.

The themes in “Tuesday” resonate deeply, echoing the complexities of love, loss, and the fragility of life. Pusić’s unique storytelling shines through, blending the whimsical with poignant reflections on human existence. The relationship dynamics between Tuesday and Zora are particularly striking, illustrating the lengths a parent will go to for their child, even when confronted with insurmountable odds.

Taking a mythical approach to a contemporary issue, the film explores the boundaries between life and death. The quirky representation of Death as a parrot adds a layer of surreal humor, juxtaposing the film’s heavier themes with a touch of levity. This unorthodox depiction offers viewers a fresh perspective on an often-taboo subject, making moments of humor emerge amid the sorrow.

As the story unfolds, viewers witness Tuesday’s fight for a few extra moments, bringing forth a tapestry of emotions—hope interwoven with despair. The performances of the lead actors greatly contribute to the film’s success, with Petticrew delivering a touching portrayal of a young girl facing life’s ultimate challenge, and Louis-Dreyfus infusing her role with deep maternal instincts and fierce determination.

Despite the occasional wobbles in direction as the story develops, “Tuesday” stands as a testament to Pusić’s storytelling prowess. It is not merely a film about illness but a celebration of life, showcasing the beauty of the human spirit when faced with the unrelenting inevitability of death. The film invites its audience to reflect on the relationships that shape our lives and the moments that we cherish the most, even in the face of heartbreak.

This captivating film is a commendable first feature by Pusić, and it leaves a lasting impression on the viewer long after the credits roll, making it a noteworthy addition to contemporary cinema.