Schitt’s Creek‘s Dan Levy takes centerstage in Good Grief. Netflix’s newly released film follows an artist grieving the sudden death of his husband, and as he makes a new discovery a year later, he grapples with hard truths. Levy is primarily renowned for his comedic chops, but he steps into a different arena with this comedy-drama, showcasing not only his dramatic prowess as the leading character but also his versatility as he assumes the roles of writer and director. Continue below to see what we thought of the Levy-led feature.
The film opens with a Christmas party hosted by our leading character, Marc, and his charismatic husband, Oliver. The festive gathering, attended by family and friends, showcases a vibrant camaraderie driven by lively conversation, music, and a charismatic Christmas carol led by Oliver. These moments portray a deep love between Marc and Oliver that attracts admiration and respect from those around them. It is a key aspect of the story (it goes on to inform a great deal of the narrative), and the film successfully communicates it in a short amount of time. Towards its end, the opening sharply takes the audience to the story’s inciting incident where Oliver gets into an abrupt car crash and dies. It is a harrowing twist, capturing the jarring feeling that comes with sudden loss. Good Grief doesn’t waste any time. Its opening is succinct and emotionally stirring from the outset.
The brisk pace of the opening persists in its following scenes as the film swiftly moves through Marc’s first year of grief. These moments are characterized by the tender care of Marc’s closest friends Sophie and Thomas and meetings with Oliver’s literary agent to address financial matters. While these rapid sequences effectively propel the narrative forward, they present a somewhat stoic portrayal of Marc’s grieving process. Grief is inherently complex, particularly in the aftermath of a sudden death. Yet, Marc appears to remain relatively unchanged throughout the year. Even with Levy’s skillful portrayal of Marc’s sorrow, there’s a noticeable absence of emotional variation. Without variation, the film leaves untapped potential to authentically capture the rollercoaster of emotions that accompany grief and allow the audience to deeply empathize with Marc.
As these scenes pass through time, Good Grief opts for an explicit approach. Shifts in time are casually communicated through singular lines with similar structures (ex: “It’s been a month.”; “It’s only been six months.”). However, despite their natural intent, their similar structures and placements create a noticeable pattern, and after a couple of them, make the time movement feel more mechanical than natural. This prevents full immersion into the narrative as it calls attention to the strings behind its curtains.
Around the anniversary of Oliver’s death, Marc learns a shocking truth: Oliver had gained feelings for someone new and wanted to reevaluate his marriage with Marc. It is a riveting twist as it shakes the foundation of what seemed to be a loving relationship between the two, prompting viewers to lean in. Following this revelation, Marc discovers that Oliver had a secret house in Paris with his lover and decides to take Sophie and Thomas there for a Paris getaway, without telling them of Oliver’s secret relationship. As the trip unfolds, Marc must face the secrecy and underlying mistrust that existed within his marriage. As Marc grapples with grief alongside these revelations, it makes for an engaging second act. Good Grief finds its strength here.
Simultaneously, Sophie and Thomas confront their own challenges. Sophie struggles with romantic and professional commitment and Thomas struggles with the fact that none of his relationships last. A fascinating question drives these arcs: What happens when loving feels like hurting? Each character responds in different ways. Marc confides in a handsome stranger, Sophie falls into nightlife excesses, and Thomas looks to his friends for grounding, despite them both being emotionally unavailable. It is a varied commentary on how individuals cope with romantic turmoil that forces them to face their inner demons and lean on those they trust to pull themselves through.
As the film concludes, viewers can find themselves with a thoughtful, though heady, mosaic about the intersections of grief, betrayal, and love (platonic and romantic), led by honest performances and crisp writing. The film’s full-circle ending is touching. However, the mosaic is left with some blank spots as the film leaves some plot points rather vague. One intriguing point is the revelation that Marc never took time to grieve the death of his mother and, instead, used his relationship with Oliver as a distraction. This revelation sheds a unique light on Marc’s connection with grief that likely encapsulates emotions apart from Oliver. Unfortunately, those emotions aren’t explored as this is only mentioned to illustrate how Marc is processing his former relationship. This leaves the audience wondering about the impact of the death of Marc’s mother and the additional healing he must go through.
Furthermore, while the narratives of Sophie and Thomas carry weight, they suffer from a lack of clarity. Sophie’s struggle to commit to her boyfriend lacks articulated reason, hindering viewers’ understanding of her arc. Thomas’ storyline, although clearer, is given scant attention and its significance feels downplayed within the larger story. Filling out these narrative points could have added further intricacy to the story.
Good Grief is sincere and delicately handled, but just a bit too vague to drive its point home the way it intends to. Nonetheless, it has a huge heart at its center and, with great performers carrying it, is a worthwhile watch.
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