Everytime (2023) Review: Sandra Wollner's Haunting Grief Drama - Too Little, Too Late? (2026)

The Subtle Art of Cinematic Grief

In the world of cinema, few things are as captivating as a well-crafted exploration of grief, and Sandra Wollner's 'Everytime' attempts to navigate this complex emotional terrain. This Austrian filmmaker has a knack for blending genres, as seen in her previous thriller, 'The Trouble With Being Born'. But with 'Everytime', she takes a more understated approach, crafting a family drama that lingers on the delicate balance between subtlety and impact.

A Tale of Loss and Its Aftermath

The film introduces us to a seemingly ordinary family, a divorced mother, Ella, and her two daughters, Jessica and Melli. Their lives, at first glance, appear unremarkable, but this is precisely where Wollner's expertise lies. She masterfully injects a sense of unease into the mundane, making a stroll through Berlin or a text to a deceased person eerily captivating.

The story takes a tragic turn with Jessica's sudden death, an event shrouded in mystery. Was it suicide, an accident, or something more sinister? Interestingly, the film doesn't provide a clear answer, focusing instead on the aftermath and the ripples of grief it creates.

Navigating the Waves of Grief

What follows is a study of human behavior in the face of loss. Each character copes in their own way, with Ella continuing her maternal duties, Melli navigating childhood amidst grief, and Jessica's boyfriend, Lux, struggling with guilt. This portrayal is both compassionate and thought-provoking, as we witness their attempts to move forward while being haunted by the past.

One might argue that the film's strength lies in its performances and cinematography, which are indeed commendable. However, the narrative's subtlety may leave some viewers craving more substance. It teases at potential conflicts but often falls short of delivering them, leaving a sense of anticipation unfulfilled.

A Twist of Fate and Virtual Reality

The third act, set in a seaside resort, is where the film takes an unexpected turn. Past and present collide, and the line between reality and virtual reality blurs. This is where Wollner's storytelling becomes intriguing, as she uses these elements to provide a unique perspective on grief. The use of a Minecraft-style game adds a layer of surrealism, making us question what is real and what is not.

The Power of Denial

The ending is where 'Everytime' truly leaves its mark. Without giving away spoilers, Wollner presents a resolution that feels almost unreal, as if the characters choose to reject reality. This is a powerful commentary on the human capacity for denial in the face of unbearable pain. It's a bold choice that will undoubtedly spark discussions and leave audiences contemplating the boundaries of acceptance and the power of the mind.

Personally, I find 'Everytime' to be a fascinating exploration of grief's complexities. While it may not offer a conventional narrative, it excels in creating an atmosphere of unease and emotional depth. Wollner's decision to focus on the aftermath of tragedy, rather than its cause, is a bold statement on the resilience and fragility of the human spirit. This film is a testament to the idea that sometimes, the most powerful stories are not about the events themselves but about how we choose to navigate their aftermath.

Everytime (2023) Review: Sandra Wollner's Haunting Grief Drama - Too Little, Too Late? (2026)
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