Presented this year at Cannes in the ACID selection, Argentinian director Iair Said offers Most People Die on Sundays, a touching and burlesque portrayal of a millennial facing the responsibilities of adult life.
David, an overweight homosexual man in his thirties, returns to Argentina to attend his uncle’s funeral. During his stay, David reconnects with his family, his Jewish roots, and begins the journey of accepting his father’s impending death.
Iair Said, both behind and in front of the camera in the role of David, offers a moving and human film while addressing the generalized anxiety of younger generations: fear of failure, fear of the future, fear of loneliness, and fear of death. Despite the weightiness of these topics, the film manages to convey a certain lightness and achieves a balanced composition.
Said considers it important that films with LGBTQ themes feature non-hegemonic bodies. David defies body norms and their representation. It is refreshing to have a more inclusive conception of physical appearance, especially on screen. Also, worth mentioning, the film incorporates LGBTQ themes but does not revolve solely around homosexuality, as pointed out by Said.
Most People Die on Sundays is ultimately a very compelling work. Through its plot and direction, the audience quickly develops sympathy for David, a somewhat awkward and childlike character.
The introduction immediately establishes this intimate relationship between David and the audience. In fact, he is depicted quite unusually. Sitting naked on his bed, crying, screaming, and begging his lover to take him back, he appears pathetic, ridiculous, and detestable. It is a bold choice to introduce the main character in such an unflattering way. Ultimately, this initial revulsion will soften as David later appears touching to us.
With this well-crafted and balanced story, Said does not overwhelm us with excessive information about the characters’ pasts. Little is said; much is suggested or left as a clue. Without being enigmatic, David’s character remains a blank canvas onto which one can project their own experiences. This is amplified by very relaxed direction. We often follow the main character in a sort of floating approach, reminiscent of documentary formats. Few fixed cameras are used, making us connect with the character as if we were in his intimate space.
Said offers a film that perfectly oscillates between drama and comedy. Despite the weighty subjects, the film does not become tear-jerking. Each scene, brimming with potential tragedy, is immediately defused by the burlesque nature of the main character. For instance, David finds himself at the hospital for his father’s passing, wearing a neck brace and indelible blue lipstick. The comic-dramatic contrast is obvious. However, the repetition of these burlesque scenes does not irritate the audience but rather fosters empathy, especially thanks to Said’s performance, which brilliantly embodies his biting role.
Death and fear of loneliness are repeatedly mentioned throughout the film. From the beginning, the audience is directly confronted with letting go and mourning. In the first scene, David, full of despair, cries and denies the breakup, arguing that his lover cannot leave him because he is the only man who could love him that much. This is yet another proof of the selfishness and childishness of this character, full of anxiety about existence.
Furthermore, reference to death and euthanasia is often made. Euthanasia is still illegal in Argentina; only do-not-resuscitate orders exist. Said brings onto the screen a very controversial topic that could be perceived as a political statement.
Beside the director/actor’s success in depicting these tragic life moments is due to his personal history. Although his father was not euthanized, Said faced his father’s death a few years earlier. In Iair Said’s performance, we see the suffering, heartbreak, and complex acceptance that bereavement brings.
With several short films to his credit — including Present Imperfect selected for the official competition at the 68th edition of the Cannes Film Festival in 2015 — Iair Said offers us a successful debut feature film with Most People Die on Sundays.
Explore our exclusive coverage of the 77th Cannes Film Festival here.
