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TUESDAY “in theaters”

For those metaphorical souls and those who are not “Tuesday” is a sublime crash course, a treatise on dying and death; it is not sad or morbid it is just wise, realistic and beautiful. Out of the outrageous, stellar, fecund, fantastical mind of Croatian writer/director Daina Oniunas-Pusic comes a film reverberating with the solvency and depth of poets John Donne, Emily Dickinson, Sylvia Plath, and the inimitable Bhagavad Gita, “Now I have become Death”: Hindu god Vishnu changes his form to convince Prince Arjuna of his duty and possible fate. In “Tuesday”, Death appears in the shape of a Macaw; Tuesday (with monumental adaptability depicted by Lola Petticrew) a fifteen-year-old, physically paretic, aware of her imminent departure. Engaging in a dialogue, Tuesday, fortuitously enchants Death, desperately warding off his sinister intensions; he agrees to a final farewell with her mother, “Zora”.  With outstanding ingenuity, the battle between inevitability, verisimilitude and fortitude ensues resulting in a temporary hiatus.

Julia Louis-Dreyfus’s performance transcends her every past characterization. To this point in 2024 she rules as the diva of potential Academy Award nominees. She is the archetypical Athena; her love for her daughter has ascendancy, power of overcoming impenetrable obstacles; she devours any force threatening her child. She embodies the quintessential parent, a role model, universally recognized by all. She encompasses and sears the heartbreaking corporeality of loss, profundity of suffocating grief, loving without boundaries, parameters, incomprehensible life, living without a loved one.

“Zora” means dawn, experiencing this innovative, vastly imaginative movie, sensing the genesis of a new era in filmmaking, awakening of a raw, potentially triumphant march into an unknown, unexplored, marvelous realm.



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