"All healthy men have thought of their own suicide." – Albert Camus
"Veronika Decides to Die" stars actress Sarah Michelle Gellar as Veronika, a young woman who decides to die. Why does she decide to die? Because life, she thinks, sucks. Why does she eventually opt not to commit suicide? Because life, she realizes, is a gift worth living.
Gellar turns in a very good performance, but the film's script is condescending. It does not trivialize suicide – director Emily Young treats Veronika's pain with sympathy – but trivializes the existential questions which provoked Veronika's turmoil. Namely, what constitutes a life worth living? Isn't Veronika's solution (sex with a hunky guy) just a temporary biological solution to a metaphysical problem? How does Veronika rationalize participating in a culture which she views as being immoral and rife with hypocrisy? If life's a gift, why can't it be refunded? Why is suicide seen as an individual problem and not a valid response to a social problem? Why is it the individual's responsibility to adapt and not society's responsibility to change?
Ultimately, films like this deny any possibility of a social causation of mental illness, a stance which allows multinational pharmaceutical companies to peddle drugs which often trap their subjects in a cycle very similar to that which instigates their mental "illness" (in the film Veronika is not ill, but simply hyper aware). This myth of mental illness encourages us, moreover, to believe in its logical corollary: that social intercourse would be harmonious, satisfying, and the secure basis of a "good life" were it not for the disrupting influences of mental illness or "psychopathology."
7/10 – Worth one viewing.
"Veronika Decides to Die" stars actress Sarah Michelle Gellar as Veronika, a young woman who decides to die. Why does she decide to die? Because life, she thinks, sucks. Why does she eventually opt not to commit suicide? Because life, she realizes, is a gift worth living.
Gellar turns in a very good performance, but the film's script is condescending. It does not trivialize suicide – director Emily Young treats Veronika's pain with sympathy – but trivializes the existential questions which provoked Veronika's turmoil. Namely, what constitutes a life worth living? Isn't Veronika's solution (sex with a hunky guy) just a temporary biological solution to a metaphysical problem? How does Veronika rationalize participating in a culture which she views as being immoral and rife with hypocrisy? If life's a gift, why can't it be refunded? Why is suicide seen as an individual problem and not a valid response to a social problem? Why is it the individual's responsibility to adapt and not society's responsibility to change?
Ultimately, films like this deny any possibility of a social causation of mental illness, a stance which allows multinational pharmaceutical companies to peddle drugs which often trap their subjects in a cycle very similar to that which instigates their mental "illness" (in the film Veronika is not ill, but simply hyper aware). This myth of mental illness encourages us, moreover, to believe in its logical corollary: that social intercourse would be harmonious, satisfying, and the secure basis of a "good life" were it not for the disrupting influences of mental illness or "psychopathology."
7/10 – Worth one viewing.