"A mother-daughter fairytale that hits right in the heart and soul."
— Pete Hammond, Deadline
"Never before have I laughed and cried so much in a movie about dying."
— Kaely Monahan, Arizona Republic
"This is a film of tremendous emotion, spirit, and paradoxically restraint and ambition."
— Kyle Turner, Slant Magazine
"There’s something undeniably exciting about Pusić’s vision, which confronts serious subjects with disarming irreverence."
— Peter Debruge, Variety
"In the end, 'Tuesday' is all about learning how to say goodbye. It’s masterfully done. This movie will remain in my top three films of the year."
— Kaely Monahan, Arizona Republic
"Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings."
— Ross Bonaime, Collider
"In this fantastical first feature from the Croatian filmmaker Daina O. Pusic, striking special effects and a richly textured sound design lend a cosmic chill to a simple story of maternal grief."
— Jeannette Catsoulis, New York Times
"Tuesday makes a strong case for death as a natural, if not the most natural part of life. It makes an even stronger case, however, for Julia Louis-Dreyfus being one of the greatest actors working today."
— David Fear, Rolling Stone
"Between the extensive VFX creature work – led by Mike Stillwell and Andrew Simmonds - the performances, the tone, and the life-or-death subject matter, experienced shorts director Pusic has given her debut her all, and observers will take note."
— Fionnuala Halligan, Screen Daily
"As a woman who has pushed away a lot of hard truths, Louis-Dreyfus delves into a sphere of emotion that she’s never before explored onscreen. She gives us not just the psychology but the feelings of fear, loss and resilience that infuse Tuesday, a story with the sensibility of an Eastern European fairy tale."
— Sheri Linden, Hollywood Reporter
"The fact Pusić is able to pull off such complicated visual effects with her actors in scene after scene while keeping her chosen tone is extraordinary for a young director (not to mention the confines of a relatively independent film budget). This sort of world building would absolutely falter in the wrong hands."
— Gregory Ellwood, The Playlist
