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Their features as they confront their impending deaths are lit by bright blue and red lights, contorting already-distressed expressions. Ideas are, of course, invisible, but Seimetz gives that fear of death a semblance of form in close-ups of the newly infected. When she goes to her sister-in-law’s birthday party to feel less alone, she passes that germ of an idea on to others. Soon, Jane begins to believe that she, too, will die tomorrow. Photo: NeonĪt first, Jane dismisses what Amy’s saying, but the idea of death sticks in her head. She’s going to die tomorrow, she tells Jane, and wants to make sure she’s turned into a leather jacket once she’s dead. Amy appears to be an addict who was in recovery and has leaped off the wagon, but she’s strangely calm in the face of Jane’s frustration.
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How do these two timelines coalesce? The film’s central motor doesn’t become clear until Jane (Jane Adams) comes to check on Amy and is infuriated to find her drinking. In flashbacks, she interacts with her boyfriend Craig (Kentucker Audley), with the two of them exploring her new place and talking about past regrets. Amy (Kate Lyn Sheil) wanders through her house with Mozart’s “Requiem” on repeat. It’s not immediately clear what’s going on in She Dies Tomorrow.
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Amy Seimetz’s movie She Dies Tomorrow plays with that idea in an even more insidious way.
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Anyone following the protagonist down the street could be the threat - there was no telling when or how it would show up. The genius of the horror movie It Follows was that the central monster could take any form.