His Three Daughters (2023) Dir: Azazel Jacobs
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Written and directed by Azazel Jacobs, this Netflix original drama has received a lot praise from those that have seen it, and I for one was keen on watching it. It sounded like it could be a hard-hitting and powerful watch, if done right, so that's what I was hoping for.
The framing, positioning and camera movements in the majority of the film were very satisfying. Nothing was flashy, but it was precise and gratifying. I think the space, confined though it was, was used well. In some respects, it felt like a stageplay - I think it could certainly work in that medium.
I loved that the three sister's personalities were established immediately in the first scene, through simple mannerisms and dialogue. Furthermore, the ways in which the relationships between them are unravelled is so concise and so delicious - it makes for scintillating viewing.
The story was a touching, beautiful, heartbreaking look at love, grief and learning to let go. There were some scenes that hit me like an emotional freight train - it was so well done. The climax of the film was, perhaps, a little on the nose, but I didn't mind it too much. The narrative does such a good job of hooking ita audience and driving it's message home, regardless of its slightly odd ending.
Where do I even begin with these three leading actresses? They were all, quite simply, sublime. All three of them had complex characters to perform, with defined, but subtle, traits that informed their actions and words, yet all three of them were able to be vulnerable, guarded, emotive, observant, or whatever else they needed, with a professionalism and capability that was utterly magnificent.
Natasha Lyonne once again proved why she is one of the best actresses in film and TV on her day, with what was a tremendously acted performance. She was able to show the audience both her character's exterior and interior persona so fantastically - it was a pleasure to watch.
Elizabeth Olsen gave her best performance to-date, in my opinion. She was so well suited to the role, and her ability to emote was so clear. I thoroughly enjoyed seeing how she distinguished herself from her co-stars. It was
I thought the variety and the scale of Carrie Coon's performance was marvellous. She offset sternness with vulnerability with a daftness befitting her immense talents. I felt like she juxtaposed the other two women excellently, and showed her character's evolution even more so.
Both Jay O. Sanders and Jovan Adepo appeared only briefly, but each had at least one scene where they were legitimately very good, especially Adepo. I'll also give a very quick mention to Rudy Galvan and Jose Febus, for their small but well performed roles.
Overall, I would say that this is, without a doubt, one of my favourite theatrical releases of the year. It was brilliantly acted, superbly directed, and unwaveringly absorbing. It definitely would work just as well, if not better, as a stageplay, but I don't think that is a negative. If anything, it makes me want to watch it again.
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