In the days preceding Christmas, Paul must choose between his stable ten-year marriage to Adriana or his passionate affair with their daughter’s young dentist, Raluca, in a film replete with duplicity, double entendre, and relational boundary intrusions. Every scene in Tuesday, After Christmas is marked by gestures, conversations, and settings that sharpen the contrast between the ordered family of three and the secret pair in the shadows. As the fallout of Paul’s affair plays out in long takes, the tension of interwoven marital and betrayal movements heightens, uninterrupted. What unfolds next is a profound warning against adultery, illuminated with raw transparency.
—Nick Olson