“His Three Daughters”: huis clos sororal

This is a story that has appeared in various variations in cinema, theater, literature… When meeting due to the death of a loved one, family members fuss in an attempt to reconcile. It is also inevitable that Trepas blows and thrashes. It’s a formula approved by those who understand the film. His three daughters (Three girls). Or, même si l’on est rupu à ce type de recits, l’on ne manque pas d’être happé, puis transporté par celui-ci. It’s the grace of the writing and the precision of Azazel Jacobs’ mise-en-scène, but most of all you, the extraordinary brilliance of three women: Carrie Coon, Natasha Lyonne and Elizabeth Olsen.

Ces dernières embodies three sisters, training and two four-legged temperaments as its work, contrasts: without contrast, pas de conflict, and without conflict, pas de drama. Carrie Coon is Katie, the psycho-rigid who rules the world, Natasha Lyonne is Rachel, Benjamin Fige is in a particularly teenage moodiness, and Elizabeth Olsen is Christina, the eternal cadet girl.

Obviously, he does this as an encore, the façade presented in the chacun gradually turns into care, concern, difficulties, at some point, alone.

Harsh conditions, vieilles rancoeurs et autres vérités douloureuses fusent, l’expression des recrimiminations devenant une une cessaire étape vers l’acceptation, puis le pardon. Yes, in theory, this all sounds like déjà vu.

Mais il ya quelque chose à l’oeuvre dans ce huis clos sororal… quelque chose like a little sorceress.

Charming Natasha Lyonne

Chinese changes by Azazel Jacobs (French exit / Foray into Kota) sont d’une justesse folle, but ce sont les passages tenant advantage du monologue qui saisissent. In general, it’s a kind of film.

Alors même qu’elle vient d’insister sur l’importance de s’understand et de ne pas entre-critiquer, Katie (en col roulé noir devant un mur blanc: bonjour lesymole) addressed Rachel a series of reproaches: whoever does not say a word, this is the manifestation of a regular. And Christina Decoller in a cheerful tirade, completely out of touch…

Polar characters, conflict dynamics, lack of communication: everything is bright, stable, embodied.

Consequently, Jacobs films the three heroines in individual shots, isolated from their son. Lorsk Katie and Christina are the captains of the cadre, this is for acerber l’éloignement tantôt volontaire, tantôt Force, Rachel. In a role that keeps her silent for a long minute, Natasha Lyonne (But I’m a fan ; Russian doll) everything is especially exciting.

La proposition l’est également, bien plus qu’anticipé, bien plus que tout ce qu’on pourrait Imagineer. In the company of these three sisters, on passe par toute la proverbiale gamme des émotions – plusieurs fois. So, this film, which could easily be found if he was delighted with everything that was in his life and holiday, is primarily bad.

Watch in the video