Fiction abounds in works which start from the premise of an individual who, finding out that their days are numbered, throws themselves into the realization of their most cherished wishes, which their minor daily worries kept hidden from them. In these scenarios death acts as an eye-opener for life; we could even say – with a hint of neoliberal pep talk cynicism - as a positive experience. The film authored by Noah Arjomand, Adam Isenberg, and Senem Tüzen presents a considerably harsher reality, where the revelation rather lies in how fragile, or simply untrue were the foundations of this everyday life which has been so smeared in fictions. The life of Kathryn, co-director Noah Arjomand’s mother, before the onset of the amyotrophic sclerosis which gradually incapacitates her body until she loses her vital functions is only briefly evoked through the introduction of archival materials: we get a glimpse of a bourgeois intellectual environment and a woman dedicated to her family. The movie, narrated by her and featuring shots taken with a camera attached above her wheelchair, focuses predominantly on the present, where all of Kathryn’s certainties, from being able to control her own body to her husband’s love and support, crumble. What remains are endless, brutal, and tragically unequal arguments – the woman can only express herself through aided by devices -, disgust, humiliation, and hopelessness but also, almost miraculously, some moments of tenderness and even humour, all centered around the wedding of Kathryn’s daughter, the last event she wants to attend. (Liri Alienor Chapelan)