Despite a strong turn by its star, the debut feature from filmmaker Daina O. Pusić is upended by its depiction of death as a macaw.
What comes after death is arguably the great unknown of humankind, making grief and the afterlife endless subjects for storytelling. How to visualize death, perhaps most famously realized in Ingmar Bergman’s “The Seventh Seal,” has likewise long haunted filmmakers. In “Tuesday,” the feature debut from U.K.-based Croatian writer-director Daina O. Pusić, death becomes a macaw. Yes, a macaw.
Pusić isn’t much interested in the details of the backstory or how these characters ended up in these circumstances, which works both to the film’s benefit, keeping it very focused on the moment, and also to its harm, with too many distracting, dangling questions about the bigger picture. The movie feels like an adaptation of a short story that has been pushed to the edges of its literary map, struggling to expand beyond.
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