Director and writer Azazel Jacobs’ “His Three Daughters” is a new film among the many about estranged siblings coming together to care for an ailing parent. However, this one does not follow the sisters through different phases of their lives, but confines itself to the father’s apartment as he struggles through hospice care. The plot is driven by the inner turmoil each sister experiences in the present while coming to terms with their father’s illness.
The overdone theme of conflict between family members initially hurts the film. We have all seen characters trying to regulate their emotions as they find themselves in unpredictable familial situations. But as it progresses and the actors deliver their heavy monologues, the audience begins to develop a nuanced view of why the sisters are so eager to leave — even if it comes at the expense of their father’s health. Christina (Elizabeth Olsen) and Katie’s (Carrie Coon) overt care for their father seriously contradicts Rachel’s (Natasha Lyonne) nonchalant disposition. While both of them worry about looking after their father, getting the do-not-resuscitate order signed and the almost-rotten state of the apples in the fridge, Rachel is busy trying to catch two sports games at once, check on her bets or smoke a joint in peace.
The film relies heavily on monologues that define the family dynamic. As the first frame comes into focus, we see an exhausted Katie lecturing Rachel on improving her ways. There is no wasted time in setting up the conflict and the audience instantly grasps the gravity of the situation. At the same time, the monologue feels a little too over-rehearsed, looking like a last ditch effort to get through to her sister. Then enters Christina, the cool, self-righteous daughter who lives far away with her perfect family, including a daughter who she is constantly showing off.
One can make a case that the actors are playing caricatures of the conflicted, the nice and the misunderstood sibling. However, it works so well because the dramatic tension is always supported by comedic bits and subtle humor that often lighten the heavier parts of the film. Jacobs’ writing plays into tropes while still offering a fresh perspective on the relationships.
Jacobs creates a gritty, realistic environment with a rhythm between each scene that complements the script perfectly. The generic Manhattan apartment setting helps the audience ease into the film. Jacobs’ direction within a small home setting creates a dynamic flow, even when the shot is static. Cinematographer Sam Levy shifts suddenly from tight closeups to wide frames, mirroring the dramatic momentum in the dialogue. The lulls in dialogue also feel more dramatic with the characters confined to a small space, creating a sense of unease.
Though the film isn’t exactly groundbreaking, it is moving and will shed that stubborn tear or provide comfort if you’re missing your family.
Contact Aaraaf Rasheed at [email protected].