Signature Entertainment released it in the United Kingdom on May 17, 2019, and Lionsgate released it in the United States on July 5, 2019. On September 9, 2017, the film made its international debut at the Toronto International Film Festival. On September 19, 2016, principal photography began. In September 2016, Brian Geraghty replaced Schreiber in the film’s cast. Cast Crew Kate Mara Mercy, Producer Elliot Page Lucy, Producer Elias Koteas Simon Beau Knapp Toby Amy Seimetz Martha Charlie Shotwell Benjamin Tonya Pinkins Agatha Brian Geraghty Weldon Jake Robinson Ian Jordan Trovillion Katlin Carly Tamborski Anti-Death Row Protester William C. At a demonstration outside a prison, Lucy (Ellen Page) and Mercy (Kate Mara) stand on opposing sides: Lucy is protesting the death penalty while Mercy wants to. and Jim Reeve, along with executive producer Karri O’Reilly, would serve as executive producers for Great Point Media. Christine Vachon and David Hinojosa, together with Mara and Page, served as producers for Killer Films, while Robert Halmi Jr. Elliot Page Kate Mara Amy Seimetz Charlie Shotwell Elias Koteas Tonya Pinkins Brian Geraghty Beau Knapp Jake Robinson Denise Dal Vera Buz Davis Jordan Trovillion Bishop Stevens Lisa DeRoberts Mac Blais Kevin Crowley Bryant Bentley Dann Fink Matt Walton William C. Charlie Shotwell as Benjamin “Ben” MoroĮlliot Page, Kate Mara, Pablo Schreiber, Elias Koteas, and Amy Seimetz were cast in the film in August 2016, with Tali Shalom Ezer directing from Joe Barton’s screenplay.Supporting roles are very well cast.Also Read:- Rise of Guardians Season 2: Release Date, Storyline, Cast Members… The casting of My Days of Mercy Seimetz excels as a woman who’s held it together under duress for so long she may no longer know how to live in a state of non-crisis. Mara is fine as a character whose elusiveness ultimately transcends plot device. Page, in the middle of a very busy year (beyond this premiere and “The Cured,” TIFF venues are wallpapered with posters for the imminent “Flatliners” remake), gives one of her best performances in a tailor-made role. More central, however, are the non-polemical rhythms of Midwestern life, which are captured with assured detail by Shalom-Ezer and her major below-the-line collaborators, notably production designer Maya Sigel. Wisely, his script defers from stacking the deck in one direction or another, thought the sharply observed dialogue does make room for arguments on both sides. All these factors, plus the presence of Brian Geraghty as a lawyer who’s become involved with Martha over the long course of Simon’s appeals, exacerbate imbalances in a fragile household that’s been in a kind of suspended animation since one parent died and another “went away.”īarton finds drama not just in individual characters, but in the variably grieving and/or angry cultures that grow around a hot-button political issue like the death penalty. Moreover, the latter is in a position to offer legal advice that might finally exonerate the Moro’s incarcerated dad - or, conversely, might cement his guilt. Their liaison also reveals how needy small-town outcast Lucy is, while Mercy reveals suspiciously little about her own circumstances. Shalom-Ezer limns several fairly explicit sex scenes with the tension of possibly getting “caught.” it’s not just that the protagonists are semi-defying their families by seeing one another. The two young women’s fledgling relationship continues later via online contact between their respective Ohio and Illinois homes, then jumps from flirtation to romance when Lucy commandeers the RV to rendezvous at another gathering.īut there remains something furtive and dangerous about their connection. So it seems like an invisible line-crossing when nonconformist Lucy finds herself making friends with cheerleader-ish Mercy (Mara), who’s on the other side: Her father has agitated for the execution of a mentally disabled man who killed his off-duty longtime police partner. There’s an uneasy co-existence at such events between the “enemy” camps, with little interaction if little overt hostility.
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