3/31/2023 0 Comments Kate lyn sheilI first noticed her in Sophia Takal's "Green" and was riveted by what she brought to the table, her confidence, ease, and depth. The acting is excellent but I'll pull out Sheil for particular praise. Most of all, "She Dies Tomorrow" evokes the creepy way fear spreads, the way contagion works at the subterranean level, just like those swimming microbes seen through Jane’s microscope. Everyone sees something different: it makes them grieve, or tremble, or say what they need to say immediately. Watch how each character looks into their own personal colored strobe. This plays out in "She Dies Tomorrow" too. The woman you think might crumble is actually the strongest, and vice versa. The mood-with its unnameable sense of doom-is similar to Lars von Trier's " Melancholia." In that film, the rogue planet approaching the earth affects each character differently: some are prepared, others fall apart. "She Dies Tomorrow" jumps back and forth in time with no warning, skips from night to day and back, and although sometimes this technique is unnecessarily distracting and self-conscious, it adds to the feeling of disintegration, everything breaking down: norms, linear time, relationships. The camera moves to floor level or peeks through a partially closed door. Jane, in turn, passes it on to Jason, his wife Susan ( Katie Aselton), and their two guests (Tunde Adebimpe and Jennifer Kim).įear is present in every visual choice Seimetz makes: the camera placements are alarming, with sudden shifts of perspective. Amy's awareness of imminent death is passed on to Jane. But later, home alone, Jane is so overwhelmed by dread for no apparent reason she flees the house in her pajamas, and crashes a birthday party hosted by her brother Jason (Chris Messina). She informs Jane matter-of-factly "I'm going to die tomorrow" and Jane is, understandably, alarmed at this seemingly suicidal statement. crawling through the dirt outside her house in a glittery gown, researching urns on the Internet, and whether or not local leather shops would make a jacket out of her skin when she's gone. This time, though, Amy is practically in a fugue state. There's Jane (Jane Adams), irritated from dealing with her friend Amy's relapses. Colored lights magically emanate from one of the empty rooms, and Sheil glides towards them, her face suffused with light as she stares directly into the camera, at what we do not know. Whatever is going on with her, she is deep into it at the film's opening. Amy wanders through her house like a somnambulist, drinking profusely, pressing her body into the floorboards, the Mondo Boys' cover of Mozart's “Lacrimosa” on repeat on the turntable. Sheil plays Amy, perhaps a clue to the film's personal origins. This opening image orients the viewer into the film's modus operandi. The film starts with an extreme closeup of Kate Lyn Sheil's ice-blue eyes, surrounded by smudged mascara, eyelashes wet with her tears, eyelashes stuck together, her eyes staring unblinkingly into. Featuring a murderer's row of talent- Kate Lyn Sheil, Kentucker Audley, Jane Adams, Chris Messina, Tunde Adebimpe, Jennifer Kim-"She Dies Tomorrow" has the feel of a horror film, and is sometimes scary, but it's really an existential meditation on mortality. By withholding exposition, Seimetz allows the premise to resonate in disturbing ways. "She Dies Tomorrow" strikes a particularly haunting chord. Fragments are pieced together, interrupted by seemingly random insert shots of the sun setting, a molten ball of light, or microscopic cells swimming in a primordial sea. Seimetz's latest feature, "She Dies Tomorrow," also rejects exposition. "Sun Don't Shine" thrusts us into the world of the two main characters, and we have to piece it together as we go. This hatred is on display in her first full feature, "Sun Don't Shine," where a nightmarish scenario is presented with an almost blasé deadpan tone. “I hate exposition,” writer/director/actress Amy Seimetz said in a 2013 interview with Filmmaker Magazine.
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