With titles such as Eighth Grade, Midsommar, Past Lives and Dream Scenario, A24 have a reputation for producing films with a truly independent sensibility, often peppered with a fair amount of quirkiness.

Their latest, which sees it co-produced with two British companies in BBC Films and the BFI, is certainly no different. In fact, it may even reinforce that notion even more.

Mother and daughter relationships can be quite complex things at the best of times, but nothing quite like that of Zora (Julia Louis-Dreyfus) and her 15-year-old daughter Tuesday (Lola Petticrew); Tuesday is wheelchair bound from a terminal disease, and her predicament is a difficult one for her mother to comprehend.

One day Tuesday gets a visitor, who just so happens to be Death (Arinzé Kene), in the shape of a colourful macaw. Obviously Tuesday knows why he’s come, and she soon becomes accepting of the fact, and feels that it’s the right time.

Someone she knows who won’t feel the same however is her mother, although she’s not fully certain as to her reaction to the arrival of this significant creature.

Death can be a tricky subject to address in any culture, but there’s a sublime beauty to Daina Oniunas-Pusic’s directorial debut, that she also wrote.

It’s set against a backdrop of vague chaos, with the world seemingly under threat in some way. But it is nothing more than that, a backdrop, as the story revolves around three characters: mother, daughter and death.

The director isn’t one to pose big questions however, as much of her film is reactionary, with all three characters having to come to terms with the part they play in this scenario.

The fact that death is portrayed as macaw is certainly a distraction, but perhaps that’s all it is; we don’t learn much about death, except for his choice of music, and that’s something that could have been explored further, even just to lighten the mood occasionally.

Both Louis-Dreyfus and Petticrew do well, considering their third player is CGI, but they also illustrate the awkward nature of it all when confronting death, and that some simply aren’t prepared to accept the inevitability of it all.

It’s certainly a film that fits well within the A24 portfolio, with its surreal approach to its subject matter, which also manages an emotional tug from it all, also making for a striking debut for its director.

And if death were to eventually present itself as a colourful macaw, it wouldn’t be a bad way to go considering many of the alternatives.