Actor: Kate Lyn Sheil, Jane Adams, Josh Lucas, Chris Messina, Michelle Rodriguez, Olivia Taylor Dudley, Katie Aselton, Adam Wingard, Tunde Adebimpe, Jennifer Kim

Director: Amy Seimetz

Country: United States of America

Produced By: Rustic Films, Neon

Storyline

amy is ravaged by way of the notion that she is going to die day after today, which sends her down a dizzying emotional spiral. when her skeptical pal jane discovers amy's feeling of imminent loss of life to be contagious, they both start weird journeys thru what might be the last day in their lives.

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Review

lower back in march, i wrote that natsuka kusano’s domains was the first movie that surely spoke to the covid-19 generation. properly, here is the second one, from actor-grew to become-auteur amy seimetz: a haunting drama of what occurs while depression goes viral, and the r range governing shivery existential panic receives above 1. it’s an eerie essay in creeping dread and collective hysteria, about the worry of some thing lousy simply outdoor your subject of imaginative and prescient.

she dies day after today is a horrifying film that behaves non-generically but by no means non-scarily, extra like an indie-stonewashed realist american photograph than a mental horror. there’s an apparent influence. it resembles the eerily atmospheric work of director shane carruth – seimetz’s ex-boyfriend.

but i might say it probably greater resembles lars von trier’s doomy jeu d’esprit melancholia, and seimetz may have absorbed a reverence for the experimental paintings of us film-maker james benning, who has a demanding cameo playing a leather employee specialising in bespoke clothes made from these days killed mammals that the purchaser has to deliver into his workshop nonetheless heat.

kate lyn sheil plays amy, a depressed younger woman who's to be affected person zero in a spreading rapture of contagious disappointment. she has these days moved into a brand new residence, nervous approximately living there on her own, and is overwhelmed by means of the bizarre, empty sense of non-identity that we can all have in a brand new area, with packing containers everywhere, the mood now not helped by using being attentive to mozart’s requiem at complete blast. amy is then struck by means of a abnormal, passionate reality that she is going to die tomorrow.

a panicky smartphone call to her friend, jane – an outstanding overall performance from jane adams – fails to calm amy and as a substitute instils in jane the conviction that she, too, goes to die the following day. in her pyjamas, and in a country of a few derangement, jane indicates up at a night meal being held by using her brother and infects everyone gift together with her personal die-tomorrow perception, from which seimetz creates some blackly comic health facility scenes. jane indicates up at the emergency room to babble her alarmist news about death tomorrow in which the handsome, frowning doctor (josh lucas) listens carefully, starts offevolved out via referring her to a psychologist and finishes up whimpering helplessly in jane’s arms.

as jane’s brother says: it’s now not as irrational as all that. death the next day is handiest absurdly not possible if you’re immortal. lots of human beings die suddenly. even people on their deathbed frequently can’t hold close the idea that it is able to happen at any second. we anybody assume that dying happens sooner or later inside the misty destiny. it’s no longer near sufficient to be in attention. but one of the matters that weakens with age is the ability to ignore demise. pronouncing which you’re going to die the next day is some other manner of pronouncing that you have understood for the primary time that you are going to die. however perhaps it’s also a hysterical way of avoiding the evil. all of sudden proclaiming this allegedly approaching event is like the line about seeing goody proctor with the devil in arthur miller’s the crucible: it’s a way of fending off worry and accusation, a proclamation that you are defiantly aware about the final judgment on its manner. it’s a pre-emptive shout to the heavens approximately that aspect that you are most scared of.

it’s clean to name she dies the following day a covid-19 metaphor. but it’s greater like a literal depiction of the worry that spreads in which the real disease does no longer. and we have all experienced it now: that growing experience that nothing is actual, that not anything can be depended on, plans can not be made, the assumed present and the anticipated destiny are melting. the entirety in our covid lives has turn out to be provisional and noncommittal, just like amy’s depressing new residence in which she hasn’t unpacked any bins and in which she will’t consider ever dwelling. it’s not a nice idea. it’s not a reassuring movie. however it has a chilling brilliance and relevance.