A year ago, Marc (Levy) watched from the window of their posh London apartment as his husband Oliver (Luke Evans) died in the street. He is still deep in the grieving process, but close friends Sophie (Ruth Negga, getting to use her Irish accent for once) and Thomas (Himesh Patel) have been with him every step of the way to navigate the stages of grief. He invites Sophie and Thomas to join him on a weekend trip to Paris, which proves revealing for each of them.<\/p>\n\n\n\n
The ability to go to Paris on what seems like a whim is very much an exclusively upper-class option, and Good Grief<\/em> drips with opulence in every frame. You can smell the Trudon candle on the mantel and feel the softness of the cashmere sweaters, which are always a tasteful neutral shade. When the friends go to a warmly lit Parisian restaurant, you know they\u2019re not ordering the second-cheapest red wine on the menu. Good Grief<\/em> may revolve around some harsh truths for Marc, Sophie, and Thomas, but it\u2019s a cozy experience for the audience. Both London and Paris are shot lovingly by Ole Bratt Birkeland, with gentle light that makes the cities glow and causes you to track prices on Google Flights. It\u2019s like the queer millennial version of a Nancy Meyers movie, even down to the covetable kitchen. I\u2019m delighted that Levy got the budget from Netflix for such a luxurious aesthetic. <\/p>\n\n\n\n After helming a handful of Schitt\u2019s Creek<\/em> episodes, Levy makes his feature directorial debut here, wielding the show\u2019s signature sarcastic wit with just enough sweetness. By its nature, this is more serious than his previous work; there are fewer big laughs, but it\u2019s still quite funny, somehow managing to be both acerbic and open-hearted. Walking this tightrope of tones isn\u2019t an easy feat, especially for a first-time director, but Levy manages it with only a few wobbles. <\/p>\n\n\n\n Though it isn\u2019t quite as emotionally affecting as its title implies, Good Grief<\/em> avoids wallowing in pain and sadness. It can be a bit too earnest and direct, but it\u2019s tough to fault that too much in a film that is this emotionally intelligent and thoughtful. It simultaneously examines how you can truly love someone \u2014 whether romantically or platonically \u2014 and still hurt them, and how it\u2019s still important to form close relationships, even though that pain remains a risk.<\/p>\n\n\n\n Levy pays equal attention to Marc\u2019s romantic relationships and his friendship with Sophie and Thomas, making him feel like a whole person who exists beyond just his identity as a husband. Of course, this romance has the requisite big gestures of the genre, but the emotional moments aren\u2019t limited to the scenes that make you swoon. The interactions between the friends are just as moving and have a measurable impact on Marc\u2019s growth, emphasizing the need for more than just romantic connection in stories and in life. <\/p>\n\n\n\n With Good Grief<\/em>, Levy has made a stylish and charming debut, redolent with both snark and warmth. Despite the death at its heart, this isn\u2019t a taxing viewing experience that leaves you drained and surrounded by a ring of tear-soaked tissues. Instead, it\u2019s buoyant and bright, while never shying away from the pain \u2014and promise \u2014 inherent in relationships of all types. <\/p>\n\n\n\n “Good Grief” is on Netflix Friday.<\/a> <\/em><\/p>\n\n\n\n![\"\"](\"https:\/\/crookedmarquee.com\/stage8\/wp-content\/uploads\/2024\/01\/good-grief2-1024x683.jpg\")
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