THE STORY – Three stories which all concern the relationships between adult children, their somewhat distant parent (or parents) and each other. Each of the three chapters takes place in the present, and each in a different country.
THE CAST – Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps, Sarah Greene, Indya Moore, Luka Sabbat & Françoise Lebrun
THE TEAM – Jim Jarmusch (Director/Writer)
THE RUNNING TIME – 110 Minutes
It’s not a new observation to notice how similar people’s lives can be, regardless of where they live or what the particulars of their existence are. However, Jim Jarmusch’s new film, “Father Mother Sister Brother,” explores the concept of shared, universal experiences through a specific set of circumstances. Namely, as the title suggests, each of the three stories in this triptych delves into the relationships between parents and their adult children. And thanks to clever (one could even call them “cute”) shared details and dialogue, Jarmusch is able to bring attention to just how alike we all are. It’s a lovely little movie about the (mostly) harmless lies family members tell each other, both for self-preservation and each other’s well-being.
The first section – “Father” – concerns a well-off sibling pair (Adam Driver and Mayim Bialik) going to visit their semi-estranged father (Tom Waits), who lives in seclusion in, as Bialik’s character Emily puts it, “Nowheresville.” Notably, their father has often asked his son, Jeff, for financial help to repair parts of his ramshackle house. The meeting is tense and awkward – one of those situations where all that these people have in common is their genes.
Chapter Two, “Mother,” also focuses on a parent and two of their children. Here, Charlotte Rampling is Mother (to quote stan Twitter), and her daughters, Timothea (Cate Blanchett) and Lilith (Vicky Krieps), are coming over for their annual afternoon tea. Mother is clearly doing well for herself as a successful author, but the two sisters couldn’t be more different. Tim takes after her mother: prim and proper in manner and appearance, whereas Lilith is more of a wild child, with her pink coat chosen to match her hair color.
“Sister Brother” is the final part of the three, and with a structural change in pace, no parents are present. Billy (Luka Sabbat) and Skye (Indya Moore) are closely-bonded twins (they often talk about their shared perception, aka “twin factor”) who are journeying to their parents’ now-empty Paris apartment after their sudden death in a plane crash.
Besides the obvious thematic parallels and recurring plot beats, Jarmusch peppers his screenplay with subtle moments that are referenced or occur in all three chapters. Shared phrases (“Bob’s your uncle” in different forms) and objects (there’s always a hot beverage, fancy watch, and unreliable mode of transportation, among others) unify the trio of stories in a way that underlines their universality. It makes for a fun watch, giving audiences the same feeling of finding a referential Easter egg, but with greater purpose.
Jarmusch’s screenplay strikes precisely the right tone to emphasize his sweet – but not saccharine – message. It’s a patient film, and although it relies entirely on dialogue to support the narrative rather than instances of visual flair, Jarmusch allows for a deliberate pace featuring plenty of conversational pauses and moments of appropriate (and often hilarious) silence.
The impact of the lack of parental figures in “Sister Brother” is subtle yet seismic. In the first two chapters, the children all express some level of resentment, annoyance, or trepidation about their parents, although they clearly push through their hesitations in order to spend time with them (however briefly). And both of those sections feature either the parent lying to their children about their situation, or vice versa. These are mistruths for the purpose of self-preservation – they don’t want to shatter the false idea that the other person has about them. Smartly, in “Sister Brother,” the children discover that their quirky late parents had a habit of creating fabrications of their own, but never with malicious intent. In fact, it was often to make their children’s lives better, in some strange way. It’s not that Jarmusch is encouraging dishonesty. Still, his film truthfully examines the ways in which family members strive to ensure their loved ones live the best lives possible, through any means necessary.
The abbreviated structure and low-key tone of their respective stories don’t allow for many standout acting moments, but every single performance works perfectly within the bounds of the film. Tom Waits is a particular delight in a role that’s tailor-made for the off-the-wall musician. His wild hair and unkempt appearance are reminiscent of Bruce Dern in Alexander Payne’s “Nebraska,” and a moment where he rattles off the names – both scientific and colloquial – of drugs that he says he’s pointedly not taking is incredibly funny. Indya Moore also makes use of her incredible screen presence and trademark poise to bring a relatable energy to Skye. Her chemistry with her on-screen brother is especially impressive.
“Father Mother Sister Brother” is a cinematic series of variations on a theme, proving to be a gentle yet humorous look at how we interact with the people we have no choice but to know and, hopefully, love. Family interactions on film are often either tumultuous or overly sentimental. Here, Jarmusch crafts an understated story for audiences whose family relations are somewhere in between, and it’s all the more relatable for it.
