Living People in "It Was Just an Accident"
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.

Soram visits her aging grandmother, who prepares dinner while struggling to breathe. Years later, after leaving home and taking on housework for the first time, she begins to understand the weight of "domestic labor." Reflecting on the invisible work carried by her mother and grandmother for decades, she questions how housework is divided, valued, and gendered. Through conversations with friends and care workers, she discovers the reality of domestic labor: essential to sustaining life, yet still unequally distributed.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.
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Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.