In the recently released film "Tuesday," director Daina O. Pusić brings to life a unique take on the concept of Death. In this fantastical feature-length debut, Death takes the form of a talking macaw, voiced by Arinzé Kene. The film delves into the captivating relationship between Death and a terminally ill teenager named Tuesday, played by Lola Petticrew.

Tuesday, confined to a wheelchair and facing her imminent passing, surprises Death with her quick wit and humor. Instead of succumbing to fear, she manages to calm his presence and even guides him through a panic attack. This unexpected connection provides a momentary respite for Death, who is burdened by the painful pleas of his future charges.

As the story unfolds, it becomes clear that "Tuesday" is more than just a tale about Death. The narrative centers around Tuesday's mother, Zora, portrayed by Julia Louis-Dreyfus. Zora, deep in denial about her daughter's condition, avoids spending time with Tuesday, pretending she is still employed and engaging in other distractions. Their strained relationship is characterized by mixed emotions of tenderness and irritation, with Tuesday often assuming the role of the mature figure, while Zora regresses emotionally.

While the film explores the complexities of the mother-daughter dynamic, it also embraces whimsical and fantastical elements. Pusić, known for her high-concept visual and narrative ideas, seamlessly introduces Death as a talking macaw. While some viewers may find the inclusion of a CGI bird briefly rapping an Ice Cube verse cringeworthy, Pusić's prior experience in blending fantastical intrusions with strained familial relationships brings something unique to "Tuesday."

The film teeters on the edge of trite relationship dynamics but is saved by the exceptional performances of Louis-Dreyfus and Petticrew. Their portrayal of a mother and daughter struggling with impending loss brings depth and authenticity to the characters. However, as the film progresses, it becomes evident that Tuesday's character is thinly drawn, mainly serving as a level-headed figure in the midst of dysfunction around her.

Despite Death being the film's most "spectacular" invention, it appears sparingly on screen. The naturalistic introduction of Death as a talking macaw and the director's acceptance of its unreality contribute to the film's overall effectiveness, despite occasional dodgy compositing.

While "Tuesday" initially avoids excessive exposition about Death's workings and the background of Zora and Tuesday, the second half of the film delves deeper into the logic of Death's central conceit. Zora, confronted with the chaos ensuing from Death's absence, takes on his mantle. The film reminds viewers of the importance of death to prevent endless suffering, weaving together a hackneyed montage to emphasize this concept.

As the story progresses, Zora eventually comes face-to-face with her daughter's pain, culminating in an emotional and tear-jerking climax. As a parent witnessing the passing of a child, the depths of Zora's grief are convincingly portrayed by Louis-Dreyfus. However, the film's adolescent sandbox-style narrative struggles to fully evoke the intended adult fairy tale about accepting loss.

"Tuesday," produced by A24, is currently being screened in select theaters, offering viewers a thought-provoking exploration of life, death, and the complex dynamics between a mother and her terminally ill daughter.