Soeurs

Just shy of when one-quarter of the runtime has elapsed, there's a scene in which five-time César award-winning star Isabelle Adjani seems lost, lacking direction, and her scene partner handily outshines her. In this scene, two characters are talking in circles and waver back and forth between certainty and uncertainty of what is being said and what is intended. Awkwardly, unfortunately - if not wholly to the same extent - this rather seems to capture the spirit of 'Soeurs' at large.

I don't mind that the film is very indistinct and indifferent about exposition, letting relationships, history, and the story at large reveal itself in its own good time. Other titles have employed this approach to great success. What's more concerning is that at the same time the picture takes this approach, it blends adult characters' pasts with the rehearsals of actors, for the play within the picture, who also portray the adult characters' younger selves. At the same time it also emphasizes a reflection on abhorrent domestic violence, the Algerian fight for independence, nationality and personal identity, and war crimes; misunderstandings, miscommunication, or a lack of communication about what a play is or represents; the difficulties of writing, organizing, and preparing a play; family dynamics, and in addition to still more, what feels (rightly or wrongly) like something that would be created as an autobiographical exploration. Above all, it's a feature about profound, enduring trauma. 'Soeurs' inundates us with a cavalcade of ideas to take in, which is a lot by itself and would maybe be fine - if not for the fact that it no more than very loosely defines itself from the very beginning.

Filmmaker Yamina Benguigui had a grand, extensive, immersive vision, one that I deeply admire. She broaches huge, crucial ideas and story beats that are absolutely worth delving into; the material is ripe with potential, and to be honest could fill multiple full-length features. And that's kind of the problem; this 2021 movie feels overfull, and a little confused and confusing as a result. The pacing doesn't help; it's only marginally accelerated, but 5-10% too much is still enough to heighten the difficulties of overabundant content that arguably receives insufficient treatment in the first place. That the line blurs for characters between past and present, and fiction and reality, is also no help in light of all else going on here. If the film slowed down just a tad, allowing the dramatic beats to manifest, breathe, and resolve of their own accord, the end product would have been improved. If even just one element, of any degree of prominence, had been left out, the remainder might have been able to spread out more, develop more, and feel more complete. For all this, Benguigui's direction also comes across as a smidgen unfocused, impacting the cast and the rest of the movie in turn.

In other capacities 'Soeurs' is very well made, including terrific filming locations, and production design. Cinematography, editing, costume design, hair and makeup, stunts, effects - all this is fine. The scene writing is strong, and in fairness to Benguigui, each scene in and of itself mostly comes off well. The acting is marked by moments of unevenness, owing to the same in the writing or direction, but by and large the cast give commendable performances. The whole is sadly troubled, however, weakened by that surfeit of ideas that in some measure scatters the earnest, meaningful substance. Even within the last third, or the last 10-15 minutes, new plot elements are introduced, compounding the issue. One might suppose that such an unwieldy kluge is an echo of the complexity of the scenario, and of real life, but here it feels like overexertion and lack of clarity on Benguigui's part rather than shrewd intention.

I appreciate what the picture tried to do; I love it, in fact. In execution, proverbially speaking 'Soeurs' bit off far more than it could chew. Even with a consistent through-line the storytelling and conveyance of ideas gets muddled and bogged down, with some notions popping up out of nowhere or dropping out just as suddenly. I like what this could have been. What it is, regrettably, is no more than very modestly satisfying. It still earns a soft recommendation, and more of one for those who are diehard fans of those involved, but this is something to save for a quiet day rather than going out of your way to see. A good try; better luck next time.