Kimchi
2018

Representation Score
Good
2017
PGDirector
Kim Bass
Runtime
107 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Day of Days succeeds by centering the perspective of a refugee navigating cultural integration and caregiving. This choice disrupts conventional domestic narratives and provides a sophisticated look at displacement. The film's strength lies in its ability to challenge monolithic views of American life through a cross-cultural dynamic. By juxtaposing a traditionalist with an immigrant, it explores the complexities of social and religious integration. However, the film lacks overt LGBTQ+ representation and specific neurodivergent themes. The focus on disability remains tied to the necessity of caregiving rather than the empowerment of the elderly character.
Category Breakdown
The film does not feature any explicit LGBTQ+ characters or stories. The relationship between the two main characters seems to be based on friendship or caregiving.
A female home-aid worker plays a significant role in the story, showing strong emotional intelligence and ability to act. Her role as a caregiver challenges traditional hierarchies where the male is the primary decision-maker.
The inclusion of a Cuban refugee as a central protagonist provides a non-Anglo-Saxon perspective. This highlights the nuances of the immigrant experience within a domestic setting.
The narrative explores friction between a traditionalist and a refugee. Their interaction critiques rigid religious structures through the lens of human suffering.
The premise suggests a focus on age-related frailty or physical dependency. However, the representation centers on the necessity of care rather than the empowerment of the elderly character.
Present on Screen
Limited or Absent
Official Synopsis
A reclusive, God-fearing 91-year-old man and a young Cuban refugee home-aid worker struggle to come to terms with their regrets, the unbearable pain of unacceptable loss, love and the most difficult and beautiful of human truths: life ends and life goes on.
2018

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