Fable-based stories can frequently lead to captivating narratives and enjoyable movie experiences. This holds true for writer-director Daina Oniunas-Pusic’s first feature, a fanciful yet thoughtful story about accepting death—or, more accurately, learning to live with it. The film unfolds through the perspective of Tuesday (Lola Petticrew), a 15-year-old who is terminally ill, and her mother, Zora (Julia Louis-Dreyfus), who’s having difficulty coming to terms with what's ahead. Because she can't confront the reality of the situation, Zora tries to avoid spending time with her daughter. However, when death itself unexpectedly appears to claim Tuesday, manifesting as a talking, shape-shifting parrot (voiced by Arinzé Kene), Zora is confronted with the situation. Somewhat surprisingly, Tuesday readily accepts her fate and then spends much of her remaining time attempting to assist her mother in understanding what’s about to happen—and what will occur if she doesn't, consequences that have broader implications. Through this, the film delves into some profound themes, offering insights that most people likely haven’t considered, let alone explored, illuminating the nature of death and the significant responsibility placed on its avian messenger. The result is a deeply affecting story, skillfully blending joy and sadness, tenderness and humor, as well as anger and compassion, not only for mother and daughter but also for death itself and the larger world we all inhabit. The narrative certainly gives audiences much to ponder, introducing ideas that may raise eyebrows or perhaps even provoke some discomfort for those accustomed to more traditional portrayals of this topic. Ultimately, the film provides a fresh, more mature perspective on these concepts. It’s true that the pacing falters somewhat in the middle and the story's progression might occasionally seem peculiar or slightly unfocused. Additionally, some viewers may wonder about the choice to depict death as a talking parrot (but then again, why should it necessarily take the familiar forms we’ve seen previously, such as the grim reaper?). The film boasts strong performances, with Julia Louis-Dreyfus delivering what is arguably her finest on-screen work. It also evokes earlier works like the moving Australian comedy-drama “Baby Teeth” (2019) and the classic Twilight Zone episode “Nothing in the Dark” (1962), which featured a very young Robert Redford. Nevertheless, the concept may seem strange, absurd, or unlikely to some, but when have fables, fairy tales, or opera librettos ever strictly adhered to conventional approaches? Put aside your doubts and allow yourself to be absorbed into what this film has to say; you might find that it changes how you view death.

Source on TMDB