Fran works in a small office in a quiet coastal town. She is very shy and barely talks to anyone. She often daydreams about her own death, not as a plan but as a way to feel something. A new coworker named Robert is friendly and open. He makes her laugh, asks her out, and slowly pulls her toward real life. The main fight is not with him. It is with Fran’s own fear of being known.
The movie is a soft, sad-funny story about loneliness, low mood, and learning to let someone in. Viewers see a quiet romance, awkward office chat, and dark daydreams, not activist talks or identity lectures. The focus stays on Fran’s inner world and small steps toward connection. Casting is a normal modern office mix, and Robert’s background is not treated as a political message. Reviews and online talk praise Daisy Ridley’s quiet acting and the film’s mood, not a social-justice agenda.
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Breakdown
These are the editorial factors and ratings behind our score for Sometimes I Think About Dying.
Woke representation / casting
Daisy Ridley leads as a withdrawn white office worker. Love interest Dave Merheje and some supporting actors (e.g. Parvesh Cheena, Brittany O’Grady) make a mixed modern office. That diversity is background and not sold as a representation mission. No “brilliant identity hire” framing or story world mismatch that looks like quota casting.
0%
Woke political dialogue
Dialogue is sparse small talk, awkward dates, and office chatter. Reviews stress silence and mood, not activist lines about race, gender, DEI, or current politics.
0%
Identity-driven story themes
Core themes are loneliness, low mood, fear of closeness, and tiny steps toward love. These are personal mental-health and human-connection themes, not race, queer, or identity-politics plots. Identity is not the engine of the story.
0%
Western institutional / cultural critique
The dull office and empty modern life set a lonely mood. They are not framed as attacks on capitalism, patriarchy, whiteness, Christianity, or traditional family as bad systems. No clear anti-conservative sermon.
0%
Woke character or canon changes
Not relevant. Characters come from an original play and short. Changes for the feature are ordinary adaptation choices, not identity-driven rewrites of famous people or legacy icons.
0%
Anti-woke backlash and complaints
No meaningful anti-woke or right-leaning campaign calling the film DEI propaganda or identity activism. Public talk stays on acting, tone, and depression/isolation.
0%
Creator track record context
Director’s cached record shows mild women-in-film solidarity and one “patriarchy” industry line, not a heavy race/queer/DEI activist brand. Listed producers score near zero. Overall crew context is light and only weakly tied to this film’s content.
15%
Production
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