Other People (2016)

Other People is special because it finds comedy not in denying grief, but in the awkward, painfully human moments that happen when love and loss share the same room. Chris Kelly’s direction is wonderfully restrained, letting scenes breathe so the humor lands honestly and the heartbreak arrives without manipulation, anchored by Jesse Plemons’ quietly raw self-scrutiny and a career-best Molly Shannon, radiant and unsentimental as a mother holding her family together even as she’s slipping away. The vibe is intimate and observant—like being back in a childhood house where every hallway has a memory—punctuated by small laughs that feel like survival, not punchlines. It’s not for everyone if you’re looking for a big cathartic tearjerker or a breezy comedy, but if you want a film that understands how people actually cope, it’s a deeply rewarding watch.

Other People is clearly aiming for that bittersweet sweet spot: a funny, aching look at coming home, caregiving, and trying to keep your identity intact while a parent is dying. When it works, Molly Shannon’s performance gives the film real warmth and specificity, and a few quiet family moments land with a raw honesty. But the movie’s tone can feel wobbly—broad comedy bits sit next to heavy grief in a way that doesn’t always blend—and the pacing drifts, with familiar father-son friction and character beats that can read more “indie template” than uniquely lived-in. If you want sharp laughs or a fresh spin on the terminal-illness family drama, this may feel too safe and uneven, but if you’re in the mood for gentle, actor-driven catharsis, it’s still worth considering.