Most People Die on Sundays
Most People Die on Sundays
Most People Die on Sundays: It is often observed that some form of autobiographical accounts are essential for debut filmmakers particularly the directors who have also been actors. Iair Said, last seen in The Delinquents, tries to direct features after making a couple of shorts- and fails at being boring and son.
As time goes by the main characters in the coming of age stories become more and more younger than many younger millennials come to the realization that they have not come of age and should do so in their thirties.
There is certainly something appealing in watching adolescents deal with the difficult passage in life called ‘growing up’, but there is also something unbearably stale in watching more than thirty year olds try to do the same. Most People Die On Sundays quite perfectly epitomizes David’s (Iair Said) endless quest for purposiveness: The film itself is directionless and incoherent almost like its protagonist.
David is a graduate student in his mid-thirties living in Italy; Said who is extremely laconic cinematographically enters the film. We see him on the floor of the living room in his underwear, fend overweight and potbelly, unshaven and bald, whimpering like a child when his girlfriend walks out on him. A couple bags later, he gets on a plane back to Argentina after years away but ostensibly for a funeral of his uncle and because his father is in coma and his mother needs help.
By contrast, Said is pleased with David’s life in Buenos Aires as it is so grindingly filled with mundane details that are painfully flattering. He enrolls himself for some driving lessons — then takes the driving test twice — does some work for his mom’s friend… She offers him to spend the night over and avoid going home so late taking the train; to which he agrees, not realizing that she is acting rather forward with him.
To say that this dude has a proper libido is an understatement. This helps explain why there was one day when he licked so many balls that after locking himself out of his apartment, he went to this hot neighbor’s house waiting for her to assist him. You can see this as possibly the first meeting with a chance of romance, or at least sizzling sexual attraction. But after Esther, the neighbor’s wife, rejects him again it is then that David decides to jerk off in the lady’s toilet.
Like any other news channel thishas some non-commercial aspects. A particular pleasure comes to me that such an unusual character is presented by Said’s worldview and work. The onset of excitement begins when the lens focuses on Dora (Rita Cortese), the mother of David.
Dora wants to help his husband die, which helps the film’s cause, storytelling-wise, in the middle of David’s aimless tangents. And if there are any bright spots here, they’re Cortese and Said; Juliana Gattas as his sister; Antonia Zegers as his cousin.
There is also the Spanish-Jewish ethnicity which is not so common on screen and adds a little bit of uniqueness to the picture. Religious traditions such as Burial ceremonies and Passover dinners are shown.
At one point of time, he expressed that one of his main filmmaking ambitions was if he could make a gay movie but where the sexuality of the lead character is not the probably rather the main subject but just one of the characteristics of the person.
Most People Die On Sundays qualifies to compete for a Queer Palme this year at Cannes. But no one dares touch the issue of David’s sexuality, which he simply does not mention throughout the film first character.
Another thing: In defying convention by writing and directing proud and affirming representations of gay men that do not rely on the tired and repetitive male supermodel masculinism, Said rather amusingly also shows off his not so perfect physique.
Most People Die On Sundays at 75 minutes Still Makes It Seems So Depressing. It is not spectacular and seems more like a longer version of a short 35-40 minute film. Normally, first time directors’ laziness to that particular craft of movie making is something they outgrow with time. Yet, what makes Said interesting in cinema is his emotional perspective no one possesses.
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- Genre: Drama
- Country: United States
- Director: Iair Said
- Cast: Antonia Zegers, Iair Said, Rita Cortese
