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She Dies Tomorrow(2020)

Iíve been watching out for Amy Seimetz since Upstream Colour. The concept seems good, though not too groundbreaking. Iím 20 minutes in, donít have an opinion yet.



She Dies Tomorrow(2020)

Iíve been watching out for Amy Seimetz since Upstream Colour. The concept seems good, though not too groundbreaking. Iím 20 minutes in, donít have an opinion yet.
Haven't seen this yet either, but your reasoning and mine are the same! I'll be interested to hear your thoughts.



Haven't seen this yet either, but your reasoning and mine are the same! I'll be interested to hear your thoughts.
Aside from the fact Iíve had a truly awful few days at work, with things falling apart and myself going increasingly mad, it also took me some time to figure out what my thoughts on it were. Usually isnít the case, so that says something. Iím pretty sure the below constitutes a triple spoiler, so Iíll tag it just in case.

I think this film has a storytelling problem which you really have to be a Nolan-level plotting genius to overcome. Itís not fresh -
WARNING: spoilers below
reminded me of the video to Eminemís Venom (havenít seen the Tom Hardy film itself). Btw, I did my best to remember a more legitimate reference, but I canít think of what that fairly recent sci-fi was called and donít have enough to go by to search for it meaningfully. Itís all to do with shape-shifting (the sci-if film that evades me) or, if you look at it the other way, a kind of mental virus (more like ĎIt Followsí). Without giving any more detail, I felt the storytelling was underwhelming, because itís a kind of concept thatís very hard to show. Itís a case of creating a problem that you then canít solve. You canít have a meaningful event that makes the viewer go, ĎAha!í when a behavioural pattern begins to emerge. All it has is people acting weird one after another, their weirdness being vaguely (but not in any coherent way, save for one phrase they all say) connected to the previous personís experience.
P.S. I promise, this is not a case of revenge for Ďspace monkeysí - I just really wanted to discuss it. Itís possible that Iím becoming too obsessed with showing vs telling in genre films, but I do think it matters. For example, watching ĎCallí on Netflix now. A very mediocre experience, for sure, but the moment when
WARNING: spoilers below
one character reveals to another she had seen her in the past as a child and that they live in the same house
is framed as pure showing. Weíre not told anything whatsoever, but we understand why the character who was a child cries at the realisation. I was hoping for more of that from Seimetz. Carruth, whoís my first association when I think of her, may well be nerdy, but is brilliant at that. ĎUpstream Colourí was aiming for something vaguely similar, and it even also did it via conversations, but as far as sci-fi goes, in UC you could
WARNING: spoilers below
pinpoint the exact ĎAha!í moment when one character appropriates what you already know from earlier in the film is another characterís experience/memory. Same in ĎPrimerí and ĎCoherenceí, which both used rehashed conversations to make you think, ĎWait, she didnít say that the first around.í
. In short, I donít know, it felt a bit too soft for me, and not in a good way, like Moorhead & Benson. But itís definitely worth seeing.



@AgrippinaX

I'm not going to look in the spoiler text until I watch it.

I really, really like Seimetz (and was super disappointed to find out how abusive her relationship with Shane Carruth was/is).

Have you seen her film Sun Don't Shine? (Maybe I already asked you this).