Tuesday had its world premiere at the 50th Telluride Film Festival on 1 September 2023. The film was released in North America in June 2024,[3] and in the United Kingdom on 9 August 2024.[2] It received generally favourable reviews from critics.
Plot
Zora's 15-year-old wheelchair-bound daughter Tuesday has an incurable terminal illness and Death comes to her in the form of a size-alteringmacaw to give her final deliverance from pain and suffering. Tuesday realises who and what the talking size-shifting bird is, and asks it not to kill her until her mother arrives home. Zora, on seeing Death and hearing it say that she needs to say good-bye to her daughter because every life must come to an end, at first tries to catch the macaw, and then tricks Death into going into the garden, where she bashes it repeatedly with a heavy book and sets fire to it. On hearing Death's dogged exhortation that Tuesday must die, Zora puts the badly charred bird into her mouth and swallows it whole.
With Death swallowed in Zora's body and unable to perform its life-terminating duties, numerous reports begin to circulate of people and animals not dying from accidents, usually expected to be lethal, and then continuing to roam the countryside in zombie state despite their injuries. With Death still inside her, Zora spontaneously changes her size when put under stress by Tuesday's persistent questioning about Death's whereabouts. Tuesday persuades her mother to deputise for Death in its absence, rendering final relief from pain to the suffering animals and people. On hearing Tuesday trying to control her pain through conscious breathing, Zora realises in how much pain her daughter is. She regurgitates Death and they come to an agreement how to proceed, with Tuesday passing away later that day.
Zora becomes demoralised after her daughter's demise and sometime later Death comes to visit her to see how she is. Zora speculates that it would be better for her to be dead, hoping for afterlife or a God. Death tells her that there is no God, not in any human way - and afterlife is the legacy that one leaves behind in other people's memories, how Zora lives it is Tuesday's afterlife. The film closes with Zora exhaling and telling herself: "Get up, woman".
Tuesday was co-produced between London-based Wild Swim Films and Gingerbread Pictures (which was founded by Helen Gladders, who served as one of the producers for the film), in association with Record Player Films (founded by Oliver Roskill, another one of this film's producers). Support and funding were provided by BBC Film, Creative England, BFI and US-based Cinereach (and with some additional funding originating from UK Government, according to the film's closing credits, namely HM Treasury and DCMSFilm & TV Production Restart Scheme); with A24, BBC Film and BFI presenting the production.[2]
In the UK, Tuesday grossed $5,025 from 14 cinemas during its opening weekend.[3]
In the USA, the film grossed $25,665 during its opening weekend from 2 theatres. As of August 2024[update], its revenue in North America was $706,683.[2]
Critical response
On the review aggregator website Rotten Tomatoes, 76% of 111 critics' reviews are positive, with an average rating of 7.0/10. The website's consensus reads: "A meditation on mortality full of risky stylistic gambits, Tuesday achieves real grace thanks to Julia Louis-Dreyfus' committed performance and director Daina Oninuas-Pusic's impressive ambition."[14]Metacritic, which uses a weighted average, assigned the film a score of 69 out of 100, based on 33 critics, indicating "generally favorable" reviews.[15]
James Verniere of Boston Herald summarised in his positive review for Boston Movie News: "This striking debut film is like a live-action Studio Ghibli fable. Louis-Dreyfus is a revelation."[16] JD Duran of InSession Film was equally upbeat: "Tuesday is a deeply weird, but funny movie about not just confronting death but creating a relationship with it."[17]
Siddhant Adlakha gave the film a negative review on Mashable: "A confoundingly bad work of cinema. Has all the makings of a gentle fairytale about loss, but it ends up visually, narratively, and tonally janky at every possible turn."[18]Peter Bradshaw of The Guardian echoed those sentiments: "As it is, the movie can’t quite bear to make the macaw properly funny, or properly scary. So the action exists in a tonal muddle."[19]