Death takes the most unexpected of forms in “Tuesday,” a sui generis debut from Croatian director Daina O. Pusić. Her strikingly original if occasionally counterintuitive film brings the central idea of Ingmar Bergman’s “The Seventh Seal” into the modern era — trying to stall Death, if only for a matter of hours — anchored by a committed performance from a curiously miscast Julia Louis-Dreyfus.
According to Pusić’s singular imagination, Death isn’t a scythe-wielding skeleton, nor a winged figure in a pitch-black plague cloak. Rather, it appears as a ruddy-colored, computer-generated macaw with a rumbling Darth Vader-esque bass (performed by Arinzé Kene), his words low like glaciers calving and a syntax like Jabba the Hutt. Why a macaw? It seems that these exotic parrots are harbingers of death in some cultures (though the film doesn’t explain that). This one — an intimidating red bird that can shrink and swell...
According to Pusić’s singular imagination, Death isn’t a scythe-wielding skeleton, nor a winged figure in a pitch-black plague cloak. Rather, it appears as a ruddy-colored, computer-generated macaw with a rumbling Darth Vader-esque bass (performed by Arinzé Kene), his words low like glaciers calving and a syntax like Jabba the Hutt. Why a macaw? It seems that these exotic parrots are harbingers of death in some cultures (though the film doesn’t explain that). This one — an intimidating red bird that can shrink and swell...
- 6/7/2024
- by Peter Debruge
- Variety Film + TV
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