
Burying Yasmeen
2019

2011
RDirector
Matthew Lauyer
Runtime
101 minutes
Average Rating
No ratings yetSynopsis
Will's best friend and roommate Belcher, a party bum slacker, returns from the dead as a cocky, mischievous, and perverted ghost. He soon discovers his cousin, Krista, has shacked up and moved in with his best friend, Will. Belcher will do anything and everything to destroy this relationship and get his prank buddy back.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film centers on a domestic partnership between Will and Krista. However, there is no explicit confirmation of queer identities, leaving the relationship within standard romantic tropes.
Gender Representation
Krista serves primarily as a recipient of the ghost's interference. The plot leans toward male-centric slapstick, where the male characters drive the chaos and sideline female agency.
Racial & Ethnic Diversity
The available information provides no details regarding the racial or ethnic composition of the cast. Consequently, no meaningful assessment of racial diversity can be made.
Religious & Cultural Diversity
The story operates within a conventional supernatural comedy framework. It focuses on low-stakes social disruption and slacker archetypes rather than engaging in systemic or ideological critique.
Disability Representation
There is no evidence of characters with physical or neurodivergent disabilities. The ghost functions strictly as a supernatural genre trope rather than a representation of lived experience.
Strengths
Areas for Improvement
AI Analysis
Living Will... functions as a conventional supernatural comedy that relies heavily on established archetypes. The narrative focuses on a mischievous ghost disrupting a domestic partnership, prioritizing slapstick conflict over character depth. The film lacks visible engagement with intersectional identities or progressive representation. It follows traditional comedic structures where the male social circle acts as the primary catalyst for the plot's disruption. Ultimately, the film offers little in the way of social or cultural subversion, opting instead for a standard genre premise centered on interpersonal mischief.

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