Prepare to be captivated by a story that turns the ordinary into the extraordinary. What if the most profound goodbyes are the ones we never saw coming? In Three Goodbyes, director Isabel Coixet masterfully adapts Michela Murgia’s poignant short story collection into a luminous drama that lingers long after the credits roll. Anchored by Alba Rohrwacher’s mesmerizing performance, the film is a tender exploration of life’s farewells—both the mundane and the monumental. But here’s where it gets controversial: is it possible to find beauty in loss, or does that idea romanticize pain? Let’s dive in.
The film opens with a deceptively simple premise: Marta (Rohrwacher) and her partner Antonio (Elio Germano) find themselves in a familiar argument that, this time, leads to an unexpected breakup. What follows is a portrait of heartbreak that feels achingly real. Antonio buries himself in work, while Marta returns to an empty apartment, her days marked by small, heartbreaking routines—like spreading ketchup on crackers for dinner. Her struggles with disordered eating and self-doubt are handled with a delicacy that never feels heavy-handed, thanks to Rohrwacher’s nuanced portrayal. And this is the part most people miss: the film’s humor. Marta’s quirky self-healing methods, like her one-sided arguments with a discarded K-pop cardboard cutout, add a layer of warmth to her sorrow.
But the story takes a sharp turn when Marta receives a life-altering diagnosis from her doctor (Sarita Choudhury). In lesser hands, this could have become a predictable tearjerker. Instead, Coixet keeps the tone wistful yet wise, focusing on Marta’s gradual transformation. Through her interactions with Antonio, a charming colleague (Francesco Carril), and her troubled students, Marta begins to re-engage with the world. It’s as if she’s seeing life’s colors for the first time, a sentiment beautifully captured by Guido Michelotti’s 35mm cinematography, which balances warmth with restraint.
The screenplay, co-written by Coixet and Enrico Audenino, shines in its authenticity. Marta’s journey isn’t marked by grand gestures but by small, relatable moments—like earning three bowls as a supermarket loyalty reward, which become a symbol of her renewed appetite for life. The film’s chatty dialogue is sprinkled with witty insights, such as, ‘I am not brave enough to turn down an invitation from people I don’t like,’ adding a layer of charm. Yet, it’s the quiet moments that resonate deepest, as Marta moves toward acceptance, tinged with gratitude for the moments yet to come.
Rohrwacher’s ability to make introspection compelling is on full display, particularly in scenes where her inner calm feels almost otherworldly. This might sound overly sentimental, but it’s not. Reflecting on how we’ll be remembered after we’re gone isn’t morbid—it’s a call to live intentionally. And that’s the heart of Three Goodbyes: a celebration of a life worth remembering with love.
But here’s the question: Does the film idealize grief, or does it offer a realistic portrayal of finding light in darkness? Let us know your thoughts in the comments. One thing’s for sure: Three Goodbyes is a reminder that even in saying goodbye, we can find a way to say hello to a richer, more meaningful existence.
