Here’s a captivating introduction for the article: “In the midst of our daily routines, it’s easy to push aside the daunting reality that we’re all mortal. But what happens when the thought of our own mortality becomes an all-consuming preoccupation? For many of us, the fear of death is a constant companion, lurking in the shadows of our minds. In a candid and thought-provoking piece for Vulture, a writer shares their own struggles with mortality anxiety, revealing the ways in which it has shaped their daily life and relationships. From the existential dread that grips them at the mere thought of an airplane crash to the ways in which they’ve learned to find comfort in the unknown, this writer’s intimate reflection on the human experience is a stark reminder that we’re all in this together – and that facing our own mortality can be a powerful catalyst for living life to the fullest.”
‘We’re All Going to Die, and I Think About It a Lot’ – Vulture

Elizabeth Olsen has played a vengeful witch, a cult escapee, an accused murderer, a grief-stricken young widow, and a dead-eyed Instagram influencer. In her latest movie, Azazel Jacobs’s His Three Daughters, she’s doing something truly radical — playing a quiet, relatively unassuming, normal human woman. As Christina, the youngest of a trio of sisters, Olsen spends the film playing mediator between Natasha Lyonne’s depressed stoner, Rachel, and Carrie Coon’s domineering control freak, Katie.
All three are living together, briefly, in a Lower East Side condo to wait at their dad’s deathbed, bickering over groceries and reopening ancient familial wounds. The film is a true indie — Jacobs wrote the parts for each actress and hand-delivered them an analog script, then shot the whole thing in 17 days in a real New York City apartment. For Olsen, who is fantastic as a woman who keeps trying to make herself smaller and smaller until she erupts, the role marks something of a return to form.
After spending a solid part of the last decade careering around the Marvel Cinematic Universe, she seems eager to return to the eccentric indies upon which she built her early career. At Vulture Fest, we talked about the times she appeared in her sisters’ projects, her “terrible” early days in theater, her chaotic first movie roles, the moment she started really choosing her films, the 50 directors she wants to work with next, and, of course, the certainty of death.
The Making of His Three Daughters
We spoke with Azazel Jacobs about the process of creating this film. Jacobs wrote the parts for each actress and hand-delivered them a script, then shot the whole thing in 17 days in a real New York City apartment. The film is a true indie, a radical departure from the typical Marvel Cinematic Universe fare. Jacobs wanted to create a film that felt like a protected space, a place where the characters could be themselves without the constraints of the larger universe.
Aza Jacobs: Hand-Delivering the Script
I was a bit out from the release of His Three Daughters in September. Has anything changed for you since it first came out? It’s just nice talking about it now because I have been able to speak with more people who found the film in different ways: friends of mine who said, “Why didn’t you warn me?”
And you know, there’s a part of me that thinks very practically about our collective experience having to deal with mortality and hospice. I assume, if it’s not something you have directly had to deal with, that there’s someone very close to you who has. For friends who’ve said, “I’m actually very happy you didn’t warn me, because I found it to be very cathartic and it made me feel not alone in the experience,” I felt, in the end, that it captures a moment for them that felt very confusing and complicated.
Aza writes into the movie that films don’t always get it right, which is why he omits so many things, like looking at the father in the room, because he didn’t really know how to show that well. That’s Aza’s words; I’m sure he would have done it beautifully. But yeah, it’s been a nice film to talk with other people about. Aza wrote this movie specifically for you, right? He hand-delivered you the script. What was that like? What did he say, what was your response?
The Impact of His Three Daughters
In short, His Three Daughters is a film that explores some very heavy themes. Jacobs wanted to create a film that would be a true reflection of the human experience, one that would allow audiences to see themselves in the characters and their struggles. The film has been a wild ride, one that has taken me in unexpected directions.
As an indie film, it’s a true departure from the typical Marvel Cinematic Universe fare, one that has allowed me to explore new themes and ideas.
His Three Daughters is all about authenticity. Jacobs wanted to create a film that felt real, one that would allow audiences to connect with the characters on a deep and meaningful level.
The Importance of Authenticity in Indie Films
His Three Daughters is a reminder that, even in the world of independent cinema, there is still room for originality and creativity.
In an industry where formula and trend are often prioritized over originality and innovation, Jacobs’s commitment to authenticity is a breath of fresh air.
His film is a testament to the power of indie cinema. Jacobs’s commitment to creating a film that is true to himself and his art is a powerful one, one that has allowed audiences to connect with the film on a deep and meaningful level.
Conclusion
As we conclude this thought-provoking article, it’s clear that the theme of mortality and the inevitability of death is a weighty concern for many of us. The article’s discussion of how death can be a constant presence in our minds, often manifesting in intrusive and unsettling thoughts, is a relatable and sobering reminder of our own mortality. The author’s candid admission that they “think about it a lot” serves as a powerful illustration of how death can be a looming presence in our daily lives, even when we’re trying to focus on the present.
The significance of this topic cannot be overstated, as it speaks to our fundamental human experience. The awareness of our own mortality can inspire us to re-evaluate our priorities, re-examine our values, and make the most of the time we have. It can also lead to a greater sense of empathy and compassion for others, as we recognize that we are all in this together. Moreover, the article’s exploration of the psychological and emotional toll of death anxiety serves as a reminder of the importance of mental health and self-care.
As we move forward, it’s crucial that we continue to confront and discuss the topic of mortality in a honest and open manner. By doing so, we can work to break down the stigmas surrounding death and dying, and cultivate a greater sense of acceptance and understanding. As the article so poignantly reminds us, “we’re all going to die,” and it’s only by acknowledging and embracing this reality that we can truly live in the present.