experimental film

SHE DIES TOMORROW: you have not seen this before

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Kate Lyn Sheil in SHE DIES TOMORROW

Writer-director Amy Seimetz’s offbeat fable She Dies Tomorrow is difficult to categorize, except as completely original and unlike anything we’ve seen before.

At first, it’s hard to figure out what’s going on, as we follow Amy (Kate Lyn Sheil), who recently has bought a house and is ready to embark on a fling with Craig (Kentucker Audley). But then Amy has an epiphany – she’s going to die tomorrow. No, she hasn’t decided to kill herself – she just is, for lack of a better word, prophesying that something will cause her death tomorrow. That’s pretty heavy and, as anyone would, she becomes fixated on her impending mortality.

Of course, it’s also absurd. How can anyone predict the date of her own natural or accidental death? But here’s where things really get crazy. Amy tells her geeky chemist friend Jane (Jane Adams), and afterward, Jane is convinced that she, also, will die tomorrow. Jane, in her pajamas, crashes the dinner party of her brother Jason (Chris Messina) and unloads her realization. Soon, Jason, his wife and their two guests have been “infected” – and become dazed by the belief that they, too, will die tomorrow. Virus-like, the phenomenon spreads to a seemingly well-grounded doctor (Josh Lucas), a poolside slacker (Michelle Rodriguez) and others.

And here’s another absurdity – how can a psychological disorder (if that’s what this is) be instantly contagious? She Dies Tomorrow is unrelentingly deadpan, so the absurdism is morbidly comic. Each character reacts differently to his/her infection, and this can be pretty funny. Some are profoundly distraught, while one dumps the boyfriend she has found tiresome. Amy’s own ordering of a very special leather jacket is especially perverse.

For all the humor (and this is not guffaw-producing humor), She Dies Tomorrow is also one scary movie. Of all the genres it touches, it is probably closest to horror.

The entire cast is very good. Sheil and Audley starred in Seimetz’s swampy neo-noir Sun Don’t Shine.

For good reason, film critics boost films that break the mold, and She Dies Tomorrow has an Metacritic score of 80. John DeFore wrote in The Hollywood Reporter, “Movies like this are why art houses exist.”

She Dies Tomorrow is available on all the major streaming services.

Upstream Color: “enigmatic” is an understatement

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UPSTREAM COLOR

I have never been as ambivalent about a movie as I am about Upstream Color.  (More about that later.)

A character named Thief concocts a drug from corpulent worms, doses a woman and scams her out of her savings.  Another character, named Sampler, deworms her in a surgical tent at a pig farm.  This experience washes away her memory, and she happens into a relationship with a man, another loner trying to move on from a traumatic episode.  Along the way, we see vividly colorful shots of the human bloodstream and riparian ecology.  Sampler periodically reappears to solemnly observe the goings on and experiment with sound recordings, and he spends lots of time with the herd of pigs.

Yes, this is one trippy movie.  The worming and deworming scenes could fit in a sci-fi or horror movie.  The second half has the air of a romantic thriller.  The overall tone is of an art film or experimental film.  Upstream Color is written, directed, produced and co-edited by Shane Carruth, who also plays the male lead and composed the score.  Indeed, the cinematography and Carruth’s editing and music are strikingly unique and effective.

Even viewers who admire Upstream Color find it baffling.  What’s going on and what’s it all mean?  Halfway through, I put it all together:  Sampler represented the writer himself who was imagining – and trying on – different characters, plot elements and settings.   So I thought this was a brilliant film about the creative process.  But then Carruth himself set me straight.  At the screening Q & A, Carruth said that I was wrong about Sampler, that the film is about how people might relate if their identities are stripped away, and that Upstream Color is intended to be a coherent narrative.

So here’s my problem –  it’s not a coherent narrative – not even close.  If Sampler is merely an observer, how can he play a critical part in the plot by deworming the woman?  Why are the characters doing the same thing simultaneously at the pig farm and in the highrise? And what gives with the bearded guy and his wife (seemingly unrelated to the other plot threads)?  So I don’t think that Upstream Color is a success on the filmmaker’s own stated terms.  But my interpretation did work for me, and the music, visuals, editing, and lead actress Amy Seimetz combined to make the overall experiece worthwhile.

Amy Seimetz is excellent as this haunted and confused character.  (Seimetz is a director in her own right and is getting enough acting parts now to demonstrate that she has the chops of a potentially significant actress.  (BTW 25 years ago, Lindsay Crouse would have played this role.)

If you like your movies understandable, stay away from Upstream Color – you will hate it.  If you want a unique art film experience, go with it.