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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.
Flavia is a thirtysomething married teacher. She has suppressed the memory of her adolescent lesbian fling with Jin and is stuck in a stifling marriage. A chance encounter in a supermarket with the playful and seductive singer Yip reawakens dormant feelings and she begins to think back on her teenage affair with Jin.
Juliette is a young woman who has grown up on a farm that is now under economic siege. In order to save her farm and her family, Juliette is forced into a marriage of convenience with Marcel , a morose and laconic railway worker whom she does not even know. Now that her own life is permanently changed, her sacrifice does not ultimately help her family and with that sorrow added to her lonely existence, she is trapped into remaining married because of social pressures and soon enough, the birth of a child. There must surely be a way out for her at some point, but when and how that will happen seems completely up to fate alone.
Across a language barrier, a Turkish groom-to-be on an engagement party in Kyev meets a Ukrainian that represents the 'other woman' for a marriage there.
A young boy grapples with first love and his ambitions as a drummer during an eventful summer holiday.
Two brothers set fire to a barn while drunk, inadvertently causing the death of a sleeping wanderer. One of them takes all the blame for the incident and spends ten years in prison.
During the summer of 1999, a group of teenagers, through interconnected narratives, live through their last day of high school and prepare for the future. Holly, once the new girl in school, does whatever it takes to remain popular. Dawn, who is secretly a lesbian, battles drugs. Tori is the valedictorian of her class, but, on the eve of graduation, she decides to experiment with drugs for the first time.
Shy, gentle half-wit Dennis, whose only obsession is train-spotting, is released early on account of good behavior after a rape sentence. His parents who run a modest barbershop, skeptic André and Rita, desperately try to keep him out of girl trouble, but his victim's sister Barbara starts a hate campaign. After another girl reports abuse, Dennis is jailed and beaten black and blue daily. Barbara's boyfriend, lawyer Thomas Verelst, accepts to help 'pro deo' (no cost) and pleads that Dennis belongs in a mental institution.
Stephanie collapses in a pool of blood while on a school skiing trip. A doctor discovers that the blood is the after-effects of giving birth. Soon afterward, the body of a newborn baby is found in a toilet, its mouth blocked with toilet paper. Despite Stephanie's insistence that her child was stillborn and that she had no idea that she was pregnant, she is arrested for the murder of the child.
It is just another day in the small town of Hamlin until something disastrous happens. Suddenly, news breaks that a series of nuclear warheads has been dropped along the Eastern Seaboard and, more locally, in California. As people begin coping with the devastating aftermath of the attacks — many suffer radiation poisoning — the Wetherly family tries to survive.
Single mother Adele August is bad with money, and even worse when it comes to making decisions. Her straight-laced daughter, Ann, is a successful high school student with Ivy League aspirations. When Adele decides to pack up and move the two of them from the Midwest to Beverly Hills, Calif., to pursue her dreams of Hollywood success, Ann grows frustrated with her mother's irresponsible and impulsive ways.
A college co-ed is brutally raped and struggles alone to rebuild her life, but when the chance for revenge comes she as a Victim sinks lower than her Predator.