The Feelings Wheel offers a unique and nuanced approach to identifying and comprehending emotions. Gloria Willcox, the Feelings Wheel can help us put words to our emotions and to care for our mental health. If you’re feeling frustrated and angry, it might be difficult to point to just one feeling, but having several to choose from may help you to zero in on exactly what’s going on inside.Įnter: The Feelings Wheel. Sometimes feelings can be big and intense, and other times they’re quiet, buried away, and harder to recognize. A tree can sprout only from bare soil.Learn how to understand and process your emotions, increase self-awareness, enhance emotional communication, and boost your wellbeing with the Feelings Wheel. After all, losing someone might be depleting but accepting that loss is replenishing. When Marc takes the hurt from Oliver’s passing and keeps, it helps him find himself and reckon with a curious possibility: the goodness of grief. He held anger and betrayal as a shield to not deal with it, realizing only later that to not grieve fully is to not love fully. For a long time, he tried doing the same after Oliver’s loss. He even gave up painting because it reminded him of his mother. He had done everything to not grieve and he had started with love. As the film unfolds, we are told that Marc had taken all his grief from his mother’s passing and put it into his marriage. This is why his characters, brittle and fragile in loss, never lash out. At its heart, Good Grief is a gentle exposition of the merit of grief. If his staggeringly popular show Schitt's Creek made a compelling case of banking on goodness from the most improbable of sources, his film extends that thought. In fact, the film is designed with the familiar Daniel Levy’s school of grace. The moment holds a mirror to Marc’s self-absorbed inclination but it plays out with such grace that it never becomes accusatory. He starts off with where Marc had been all night and quickly moves on to why he was left behind to foot the extravagant bill at the pub. The tirade veers from concern to indignation. When Marc comes back after his midnight rendezvous, he is met with a furious Thomas asking him why he left. To Levy’s credit, the writing is perceptive enough to see through this but the tone is always light, delightfully funny and sad at all times. To him, the act makes sense because he has accrued a loss big enough to justify that.Ī gentle exposition of the merit of grief He goes to a karaoke bar with Sophie and Thomas and saunters outside, leaving his friends with strangers. He takes his friends to Paris for his own selfish reason but convinces them that it is a return gift for their kindness. Because of what he has gone through, Marc behaves like a protagonist in his head. Sophie goes through a breakup and Thomas breaks down in a moment of self-pity. It might remind one of how selflessly they loved (Marc was the illustrator of Oliver’s books) but it makes one selfish in return.Īs days turn into months and months into a year, the lives of people around Marc change. During its runtime, Good Grief underlines a crucial observation, critical in its objectivity: grief might be devastating but it is also insulating. The outing not just focuses on Marc, the one who is lost, but also on others who are equally susceptible to loss even if the camera is not on them. This is not to say that the actor dismantles the grammar of loss. And if one looks closely, a pair of weepy eyes might stare back from a giant Ferris wheel in Paris. That, if one probes a little, a broken heart might emerge from the unlikeliest of faces. The implication here is that of a rejoinder, with the director and writer (Levy is credited for both) stating that grief can survive, and even thrive, amidst manicured surfaces. With Good Grief, Levy is not just challenging the normative depiction of grief but offering an alternative representation of it. But the film promptly shifts to Paris, making the outing even more visually appealing. On the surface, such a revelation threatens to ruin the palette. Marc comes to know of this a year after Oliver’s death. He had another lover and was planning to end the marriage. Oliver and Marc had an open arrangement but the former might have flouted the rules. The visual interface does not alter even when the narrative takes a slight turn. Everything in the film is so picturesque that Levy’s debut feature unfolds with an invitation for us to step in. They talk to each other with empathy and kindness, prefacing pointed observations with, “I appreciate you,” like they all go to collective therapy. His close friends, Sophie (Ruth Negga) and Thomas (Himesh Patel also his former lover), offer him company and compassion. Months pass with nimble agility, so do seasons. For a film so evidently on loss, time hardly stands still in Good Grief.
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