Stressed siblings clash in a tiny New York apartment and audiences love the sparks

As a film critic with a deep appreciation for character-driven narratives and poignant storytelling, I found “His Three Daughters” to be a profoundly moving and thought-provoking cinematic experience. The way the film mirrors the complex dynamics between the three sisters, gradually unfolding their relationships as the story progresses, is nothing short of masterful.

Nothing brings people together quite like the death of a loved one. But also, nothing brings out the small slights, simmering resentments and long-term emotional connections quite like the death of a loved one.

The movie titled “His Three Daughters” delves deeply into this situation with keen insight. This film, penned and steered by Azazel Jacobs, focuses on three sisters who, while not completely alienated, are not particularly close. When their ailing father is admitted to hospice care in a small New York City apartment, they are brought back together once more.

The movie brilliantly highlights captivating performances from Carrie Coon, Elizabeth Olsen, and Natasha Lyonne, as they each deliver unexpected twists to their familiar on-screen characters. By the end of the narrative, Katie (Coon), Christina (Olsen), and Rachel (Lyonne) reveal unseen aspects not just to one another, but also to themselves.

In a video interview from his apartment in New York, Jacobs explains, “It’s similar to the concept of ‘The Breakfast Club.’ You can’t define yourself by simple labels like ‘the bossy one,’ ‘the scatterbrain,’ or ‘the easy-going pothead.’ By the end, we hope to have unveiled something much more complex and human than those stereotypes.

Last year at the Toronto International Film Festival, the movie made its debut. Subsequently, it was purchased by Netflix for around $7 million. After a restricted cinematic release, which included showings in 35mm format, the film will be available for streaming on Netflix starting this Friday.

Jacobs tailored his script for three specific actors: Olsen, Coon, and Lyonne. Having worked with Olsen in the series “Sorry for Your Loss” and having directed Letts, Coon’s husband, in previous films like “The Lovers” and “French Exit”, he was able to personally deliver the script to them. His connection with Lyonne stemmed from attending her 40th birthday party along with actor Lucas Hedges. After this encounter, they developed a friendship through Instagram.

Even though I’d crossed paths with Jacobs socially before, I was taken aback when I found a script seemingly tailored just for me on my doorstep.

Coon, an Emmy-nominated actor from “The Gilded Age,” admitted he didn’t know how the director perceived him as an actor or if he had considered him for roles at all. However, he was pleasantly surprised when the director told him that he wrote this specific part for him. Tracy added, ‘You’re doing it,’ even before Coon read the script, because the director enjoys working with him so much and knew he would have a fantastic experience.

When she did read the script, Coon liked what she found.

Coon mentions that he frequently portrays strong, talkative women who are intense. In a sense, this role seemed to suit him perfectly. As the eldest sibling, he tends to be bossy and controlling, often giving advice. So, in many ways, this character is not far from his own personality.

For Olsen, it seemed that his character, the reserved Christina, was less relatable to him compared to the roles he played in “Love & Death” and within the wider Marvel Cinematic Universe.

As a movie reviewer, I’d put it like this: “I may come off as tough and unsentimental, but there are tender aspects to me that only a few people truly understand, and Aza is one of them. She knows my inner workings and the intricacies of my daily life – things I often keep hidden. So, when I was given the chance to delve into quieter, more vulnerable parts of myself, it felt like an intriguing challenge, even though it wasn’t necessarily what I expected next. This role allowed me to explore softer emotions that I don’t usually gravitate towards.

Even with a packed schedule managing “Russian Doll” and “Poker Face” as a producer, director, writer, and showrunner, Natasha Lyonne finds joy in acting for other projects. In her own words, it’s like being a “Traveling Wilbury” or a session musician, simply contributing to someone else’s vision. She delightfully expresses her enthusiasm about being involved in the creative process of another’s work: “I love to be a part of watching somebody make their thing.

Jacobs made a breakthrough with his third movie, “Momma’s Man” from 2008. This film showcased his real parents – artist Flo Jacobs and Ken Jacobs, an avant-garde filmmaker – in their loft in Tribeca. It feels quite symbolic to observe him going back to a narrative so deeply connected to family, aging, and New York living.

In order to locate the ideal apartment Jacobs had in mind, he and his co-producer, Diaz Jacobs (also the director’s wife who was also a costume designer), distributed flyers on the street. He reached out to people he hadn’t spoken to in years. The apartment they ended up using was found through someone he had known since he was a teenager. Located on the Lower East Side, this unit had just been purchased, making it unfurnished. What made it most suitable was that a dividing wall which is usually knocked down by modern owners was still intact.

According to Jacobs, “I made a conscious effort not to describe an artist’s loft.” He explains that he wanted this fictional family to live independently of his own experiences. Growing up, he had visited numerous such apartments during sleepovers or friend visits. For him, using the real-life structure as a constraint was crucial.

Jacobs and cinematographer Sam Levy, who has worked on “Frances Ha,” skillfully utilize the confined setting. At the beginning of the movie, the three sisters are depicted separately in distinct shots that don’t overlap. As the story progresses, pairs of them start sharing scenes, but it is not until later in the film that all three actors appear simultaneously on screen.

According to Coon, the film’s portrayal resonates deeply with the dynamics of the sisters. In an exceptional manner, the narrative structure perfectly reflects its purpose, which is a rarity in an industry that often prioritizes speed over craftsmanship and quality.

During scene changes, the set utilized various apartments within the building as temporary storage spaces for actors. Specifically, Coon and Olsen were housed in one apartment, while Lyonne was isolated in another to intensify her character’s sense of loneliness. However, despite their initial solitude, they inevitably spent time together.

As a cinephile, I found myself constantly intertwined with my co-star, sharing laughter and delving into each other’s personal lives. The bond we forged was so intense that Aza, our director, often had trouble corralling us because we were consumed by the magic we were creating together. In those moments off camera, our limbs seemed to tangle in a way that only intensified the palpable energy around us – it felt as if there was no escape, and you had to confront and deal with the raw reality of our connection.

“We would just spend all our time running up and down the stairs in the building,” recalled Lyonne.

The three performers were delightfully taken aback by the audience’s positive reaction towards the film. Initially an indie production with no initial distribution, this movie was showcased at a festival about a year ago. Since then, it has been steadily captivating audiences during screenings and is now creating buzz for potential award nominations.

Lyonne expresses her heartfelt appreciation for people connecting with it. She admits that none of them anticipated such a response. It’s remarkable to recall these unforeseen moments, she says, as they often come from the most unexpected sources. Isn’t it wonderful that we are touched by these surprising instances? They serve as a reminder to maintain an open mind when making decisions about our careers and lives, even though we might strive to ‘win at life.’ However, remember, in the end, we all meet the same fate.

As a film enthusiast, I found the inspiration for “His Three Daughters” in a deeply personal place. It stemmed from observing my peers losing their parents, and also witnessing my own parents grapple with their health concerns. This poignant experience served as the foundation for this touching narrative.

The movie portrays the excruciating wait at life’s end, when there’s not much left to do; even trivial tasks like signing papers or deciding on a meal become significantly important due to their completability.

According to Jacobs, the period of waiting was what ultimately led him to write. He found that time seems to behave unusually during these moments; each second feels significant. Email communications lose importance, and everything else fades into insignificance compared to this one thing. Then, surprisingly, emails and everyday life become important once more. This unexpected event, which he initially didn’t want to happen, is now something he has come to accept as reality.

Jacobs explains that the film seems to have three distinct sections for him, which is why he felt compelled to edit it carefully. Although there’s been a comparison to plays, he points out that time isn’t moving as it would in a play at all. He was able to manipulate time so that certain events could happen quickly or slowly, and even skip ahead or slow down. The way time flows doesn’t resemble real-time, but instead reflects the sensation of death for him.

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2024-09-19 17:02