By Chlotrudis Independent Film Society
Rating: 4.5 cats
Director: Amy Seimetz
Starring: Chris Messina | Jane Adams | Kate Lyn Sheil | Katie Aselton | Kentucker Audley
Country: united_states
Year: 2020
Running time: 86
IMDB: https://www.imdb.com/title/tt11614912/reference
Michael says: “This one came recommended by Scot, and since it was already on my list to see, it made sense to dive in. I was a little leery, since it had a similar premie to a film I did not like, LITTLE FISH, which comes out next spring, but I found SHE DIES TOMORROW to be much more original and intriguing. Amy has been sober for a couple of years, and lives on her own, dating and working, but when one day she is suddenly overcome with the conviction that she is going to die tomorrow, she falls off the wagon and tumbles into a deep depression. Her friend Jane tries to help, but doesn’t understand her unusual certainty and has seen this type of drunken behavior before. After trying to sort out her friend, Jane goes home, skipping her sister-in-law’s birthday party, who she is convinced doesn’t like her, and instead does some work, examining slides with a microscope. When she is suddenly overcome with the sense that Amy was right, and she too is going to die tomorrow. She also becomes convinced that someone is in the house, intending to do her harm, so dressed in her pajamas, she drives away, joining her brother, his wife and a couple of friends for their party. It soon becomes clear that this unshakable belief, of impending death, is similar to a pandemic, and is passed on from one person to the next. Soon we have seen Amy’s backstory, and how a man she was dating passed the affliction on to her, and more and ore people start to succumb.
“What is most fascinating, other than the bizarre premise, is the different ways each person deal with this knowledge. Amy becomes depressed, Jane is rather stoic, and matter-of-fact about it, others panic, become suicidal, seek revenge, go to their families, or get high. The film is structured a bit like a horror movie, and in a sense, it is a bit of a psychological horror story, but it is more interesting as a look at the way people cope with trauma. Writer/director Amy Seimetz, a successful actor in her own right (WILD NIGHTS WITH EMILY, LEAN ON PETE, UPSTREAM COLOR, TINY FURNITURE, and WRISTCUTTERS: A LOVE STORY) was dealing with depression and was overcome with this certainty of death. Being a writer and an artist, she channeled her feelings into a fascinating and fine screenplay. that, in addition to exploring a fascinating premise, creates a host of just marvelous characters, and the actors who play them rise to the occasion. Kate Lyn Sheil (GREEN, and whole bunch of low-budget indies that I had never heard of) plays Amy, presumably our director’s stand in, and gives a powerful performance that is utterly convincing. The delightful Jane Adams (HAPPINESS, ETERNAL SUNSHINE OF THE SPOTLESS MIND, THE ANNIVERSARY PARTY, SONGCATCHER) is bonkers and frankly amazing as Jane. I was so intrigued by her character, I would love a whole movie about her. And it was great to see Chris Messina (The Mindy Project, ALEX OF VENICE, GREENBERG, TOWELHEAD) as Jason, Jane’s brother, so protective of his sister, until he thinks he realizes what’s going on. The sound design is great as well, with a nice effect when the affliction manifests… much better than the visual one, which was a bit cheesy. Overall, a terrific second feature film directorial work from Seimetz, and a thought-provoking and challenging film. 4 1/2 cats
Chris says “An existential horror film, written and directed by actress Amy Seimetz, in which the spectre of oncoming death is literally passed on from person to person. An overly metaphorical and somewhat ridiculous premise to be sure; nonetheless, I was often fascinated, riveted, even, by Seimetz’s directorial and visual approach–the hypnotic flashes of blue and red light, the incessant use of a Mozart piece on the soundtrack, purposely disorienting but clever camerawork, and simple but effective moments of catharsis (most notably, ‘I’m okay with this… I’m not okay with this… I’m okay with this.’) An often compelling study of confronting the unknown, even if individual parts carry a greater power than the somewhat slight whole. 3.5 cats”