NETFLIX – ON DEMAND – FILM
The presence of this delicate and moving film on the Netflix home page transports us to an era, not long ago, that we thought was definitively over. At that time, streaming platforms welcomed with open arms this part of American production that theaters – obsessed with big-budget franchises – no longer wanted.
Presented at the Toronto Film Festival in 2023, his three daughters was acquired by Netflix, which will deprive its audience of crying in the dark with strangers but will increase the chances of discovering this sixth feature film by Azazel Jacobs, a fifty-year-old director whose most films remain unreleased in France.
And how can we not cry, if it is about mourning, repentance, remorse, atonement and forgiveness? The number announced by the title immediately establishes the genealogy of this story. These three women gathered in a New York apartment at the bedside of their dying father are descendants of three sisters (1901), by Anton Chekhov.
Familiar throughout the series.
Rachel (Natasha Lyonne) didn’t have to travel. He lives with his father, whom he accompanied during his illness. He sports deep red hair and protects himself from the world by locking himself in his room, from which he leaves to smoke joints in the courtyard of the residence, much to the despair of Víctor, the janitor. If Rachel has to leave the apartment to get high, it’s because Katie (Carrie Coon), the oldest, is forcing her to do so. Authoritarian, obsessive (she spends the first two-thirds of the film wondering how to get her father, now rarely conscious, to sign a do-not-resuscitate order), she initially appears as a caricature of an adult, the. Perfect negative of the prolonged adolescence that he sees in his sister. We will soon learn that she barely supported the latter during her father’s illness.
Between the two is Christina (Elizabeth Olsen), the younger mother, a member of the Deadhead tribe (who sacrifices themselves to the Grateful Dead cult) of California. Sometimes we wonder if she exaggerates the joys of motherhood and the benefits of the meditation she constantly practices to better conceal her fragility, before being forced by the actress to accept the idea that she may be radiant and on the verge of depression.
Although we saw them in the movies (before being hired by Marvel to play the witch Wanda Maximoff, Elizabeth Olsen illuminated independent cinema Marta Marlenein 2011), these actresses met through the series – The leftovers AND The golden age for Carrie Coon; Orange is the new black AND russian doll (russian doll) for Natasha Lyonne; WandaVision For Elizabeth Olsen. This familiarity is like a key to enter the ordinary and infinitely complex world of the three sisters.
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