Carrie Coon, Natasha Lyonne, and Elizabeth Olsen are remarkable in Azazel Jacob’s poignant look at familial grief.
Soon enough, though, Jacobs’s film relaxes, begins to breathe at a lulling rhythm. The reality is still somewhat heightened—do people in real life talk quite this expositionally, in monologue form?—but that slight artifice engages rather than alienates. His Three Daughters gradually blooms into one of the most stirring dramas of the year, a sad little family story that concerns a vast universal human experience.
Rachel feels she is the outsider, as the dying man, Vincent , is not her biological father. But in all other senses he is very much her dad; she’s closer to him than either of his “real” children are. That tension could be leveraged for cheap and obvious drama. Jacobs, though, approaches the topic head-on while finding shading in the approach; we get the sense that a conversation is finally being held out in the open after years of unspoken resentment.
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