User Reviews

I happened upon this film with no preconceived expectation. Within the first 10 minutes I was invested in itand the three nuanced performances of the actors portraying three very different, yet forced together sisters. Set in the apartment of a father who is dying, the minimal production has the feel of a stage play - each sister leading a scene and taking us into their own private battles as they await the inevitable together. The subject matter is not new, yet the true-to-life tension, emotion and awkward silences between the characters was palpable. There is overwhelming discomfort throughout the film that can’t seem to be resolved, putting the viewer in a similar state. I was frustrated, yet transfixed, almost hoping for the end to come. And then, boom - a scene so surprising and heartbreakingly poignant, that I felt a sudden calm, joy and sadness wash over me. His three sisters is anchored in the brilliant performances, from actors bringing their very powerful best, to material that could have landed flatly in the wrong hands, notwithstanding the aforementioned scene. These are award worthy performances with direction that keeps the pace tentative, yet even - like the beat of a heart monitor as you wonder when it will stop.

His Three Daughters là phim về ba chị em đối mặt với mất mát và hàn gắn tình cảm trong những ngày cuối đời của cha.

Narrado en un espacio minimalista, la trama tiene sabor realista y agridulce que permite al espectador identificarse con los personajes y ponerse en sintonía con ellos. Para ver una ****, cuando se busca algo en tono tranquilo.

'His Three Daughters' is a well-constructed drama crowned by three excellent performances. The film's heart lies in the natural and clever dialogue, making this feel as if it happened to someone you know or if you're a fourth sister watching everything unfold. The intimacy it projects is mesmerizing, and how it deals with death and sisterhood will make you rethink one or two things. And THAT final scene with the father is probably one of the more moving things you'll see this year. Don't be surprised if it ends with a couple of Academy Awards nominations.

"As Três Filhas", agora adquirido pela Netflix, chegou com expectativas elevadas, prometendo grandes atuações e uma trama familiar com profundidade emocional. Desde o início, o filme chama atenção pelo peso de seu elenco e por abordar temas universais, como a relação entre irmãs, em uma estética visual refinada. No entanto, apesar de ser considerado uma possível aposta para o Oscar, o longa carece de força suficiente para se destacar nesse nível.O roteiro, coescrito por Azazel Jacobs, acerta ao construir rapidamente o vínculo entre as irmãs, sem prolongar explicações desnecessárias. Essa dinâmica se desenvolve de forma orgânica, enquanto a trama avança com fluidez. As atuações do trio principal são fundamentais para criar essa conexão com o público, transmitindo as singularidades de cada personagem e tornando crível o histórico familiar de proximidade e distanciamento. A forma como as personalidades são exploradas revela uma habilidade notável do roteiro.A trama é simples, centrada na doença terminal do pai e os conflitos não resolvidos entre as irmãs. Esse contexto adiciona uma carga dramática à história, mantendo o espectador interessado em ver se as personagens conseguem se reconciliar antes da morte do pai. A atuação de Jay O. Sanders, que interpreta o pai, apesar de breve, é um dos pontos altos do filme. Seu monólogo final é marcante e carrega uma força silenciosa, trazendo um desfecho emocional que resgata parte da intensidade **** geral, "As Três Filhas" é um filme envolvente, com um ritmo agradável e atuações sólidas. No entanto, para quem esperava um drama arrebatador e profundo, o longa deixa a desejar. Ele entrega uma experiência emocional satisfatória, mas não tão impactante quanto poderia ser, considerando o calibre de seu elenco e o tema central.

IN A NUTSHELL: The story is about three sisters who gather in their father's New York City apartment to care for him and say goodbye during his last few days of life. This film hit me hard and was difficult to watch because last year, I lost 3 parents in 3 months. Having to say goodbye to parents is hard enough if everyone is on good terms, but everything becomes much more complicated with siblings and half-siblings, like in this film. The movie did a great job illustrating how difficult it is to navigate all of that. Waiting for the imminent death of a loved one is truly brutal and heart wrenching .The film was written and directed by Azazel Jacobs. Already, the movie has won an Honors Award as the 2024 Winner by the San Francisco Film Awards. Congrats to the cast and crew! THINGS I LIKED: The three leading ladies are absolutely terrific. Excellent performances all around. The cast truly spotlights the talents of Natasha Lyonne, Elizabeth Olsen, and Carrie Coon. Great camera work, especially in tight spaces! I've always liked one-location movies. This film utilizes the apartment spaces extremely well. Something really sweet and profound happens toward the end of the movie. Netflix purchased the worldwide rights for this movie for $7 million. The clever dialogue offers some much-needed humor to balance the sorrow. A lot of profound wisdom is seen and heard in this script. THINGS I DIDN'T LIKE: Audiences need to know this is not a feel-good movie. There is love there, but it's still a depressing, hard-to-watch film. Bring tissues. The tears will flow. Mine did. Hospice workers may not be pleased with how they are perceived in this movie. Two of the workers in the film are shown to be either unsympathetic or offering illegal advice to the sisters. TIPS FOR PARENTS: Kids will be extremely bored. Profanity, including many F-bombs One of the sisters smokes quite a few joints. Talk of DNR (Do Not Resuscitate)Lots of talk of death.

I have yet to watch it, but this is a placeholder. I can tell what my criticism is going to be - Natasha Lyonne. I can't stand her and that horrible, over the top accent. I bet she calls everyone "kiddo." We already have a Bette Midler and that's one too many.

If the producers wanted to dramatize the tiresomeness of sibling squabbling they succeeded. As for dad, when we finally meet him he seems as likely a hospice patient as an NHL draft choice.

The writer/director was very fortunate to get this cast, who came as close as anyone could to pulling off a script that felt .... scripted. Manufactured. There's something missing here - a credibility that feels real and spontaneous, not forced into some pre-conceived character description. I really expected to love this film. While I applaud the effort, I am so disappointed.

"His Three Daughters" is a poignant exploration of familial bonds that feels intimately specific, drawing viewers into its emotional landscape as if the three daughters were our own sisters and their father, our own dying parent. The film, while seemingly simple and focused on everyday life, manages to delve deeply into the complexities of love, loss, and **** dialogues are beautifully crafted, allowing each character to shine and making the interactions feel incredibly authentic. Elizabeth Olsen delivers a standout performance, effortlessly capturing the essence of her character and stealing every scene she’s in. Her emotional range and depth make the experience all the more gripping.Despite its seemingly frivolous premise, the film keeps you engaged until the very end. The performances and writing elevate the narrative, making it a compelling watch. "His Three Daughters" is a testament to how ordinary stories can resonate deeply, reminding us of the fragility of life and the strength of family ties.

Com uma misce-en-scene bem teatralizada, basicamente voltada à casa das irmãs onde o pai ficadurante quase toda a projeção em um quarto nunca filmado de dentro, acamado, acometido por uma moléstia da qual pouco se sabe, o filme basicamente é de diálogos e atuações, pondo as irmãs num divã eterno perante a morte iminente do patriarca. Toda a trama são as filhas pondo suas personalidades, qualidades e defeitos uma contra as outras, e todo o desdobramento que a perda e o luto provocam, bem como questões pontuais como herança. Esperava um pouco mais do roteiro, mas gosto da estrutura sintética, e principalmente o fato de que o pai é só um pretexto pra trama desenvolver as irmãs, o que vale muito pela atuação delas. Quase derrapa pra algo bem piegas e afetado, ams consegue segurar as pontas. O ápice é o pai finalmente dar as caras, num arco bem reflexivo e interessante.

With an excellent trio, Coon is the one who leads this deep drama about palliative care

Definitely an average movie. It was kind of slow and the characters and plot wasn’t all that interesting. Just some whiny white girls. The ages of the characters were confusing. The father looked too young and healthy to have been in his death bed.

This movie is probably the most realistic depiction of the way I perceive grief like…….i was blown away

Sitting in on a loved one’s death watch can be a trying time in more ways than one can count, circumstances that many of us can probably relate to all too well. It can be an especially stressful, even hostile, experience when incompatible family members are brought together for such an ordeal, one whose duration and developments are impossible to predict. That’s the scenario here faced by three very different (and often-contentious) sisters (Carrie Coon, Elizabeth Olsen, Natasha Lyonne) who begrudgingly join together for the waning days of the life of their father (Jay O. Sanders), who has been placed in home hospice care. During this reluctant, duty-bound “reunion,” tempers routinely flare in confrontations stemming from the rehashing of old, unresolved issues, disagreements about current responsibilities, and the seemingly endless waiting for the inevitable to arrive. These matters all wear on the distraught siblings as they struggle to sort out what’s transpiring and try to arrive at better, more civil understandings of one another. In his latest feature outing, writer-director Azazel Jacobs has created an authentic story about what often occurs under such difficult conditions, astutely blending intense drama, scathing personal interactions, dark humor and hopes for reconciliation against a backdrop of edgy anguish, searing emotional pain and pervasive uncertainty. The picture’s crisp writing and stellar performances (especially Lyonne’s stand-out portrayal) drive the unfolding of this gripping domestic saga, often leaving viewers uncomfortably squirming in their seats as raw, long-repressed feelings surface. To be sure, some of the transition sequences in the narrative could use better refinement to get the overall story on track for what follows, but, then, their handling in this manner could arguably be chalked up to the ubiquitous doubt lingering over this situation, a determination that audience members will have to make for themselves. Still, “His Three Daughters” is indeed one of the better releases of 2024 thus far, one that deserves serious consideration as awards season approaches, particularly in the writing and acting categories. It’s also a powerful cautionary tale for any of us who may be faced with having to undergo a scenario like this at some point, providing us with valuable insight into how we might want to conduct ourselves when these trying times arise.

"His Three Daughters" is a tense, captivating, and touching portrait of family dynamics that shows the harsh realities of siblings needing each other in sad desperate times and letting all the feelings we haven't said come out during the process of letting go of a parent or someone we love. Anchored by a masterclass of powerhouse performances from Natasha Lyonne, Carrie Coon and Elizabeth Olsen, as well an impeccably funny and heartbreaking screenplay by Azazel Jacobs in the year's best films. When their father’s health worsens, three estranged sisters come together to try to plan for the inevitable. The eldest is high-strung Katie (Carrie Coon), who talks a hundred miles a minute and stresses about all the practical details. The middle sister, Rachel (Natasha Lyonne), is ready to check out after spending a year taking care of the man. And the youngest sibling, Christina (Elizabeth Olsen), seems always on the verge of tears, trying her best to clumsily keep the peace while they’re all stuck in their father’s small apartment. The three actors deliver absorbing performances, defining distinct personalities, each with their own perspective on how to deal with the situation. Their father remains hidden from our view, confined to his bed, but as the daughters take turns butting heads, we slowly piece together a portrait through the women he raised. Azazel Jacobs really levels up from his previous films as a writer director showcasing incredibly layered characters while even in the same space. From how they dress, speak, and process stress, each actor creates distinct, familiar characters we recognize. Early on, we understand their juggling acts with families offscreen—spouses, children—and relationships onscreen, while reconciling the approaching loss of their beloved father, are both heartwarming and heartbreaking. Each sister begins in an archetypal role—contrarian, controlling, or conciliatory—using it as a shield against the pain. As the film progresses, their walls crumble, revealing their true needs from one another to heal. Most of the film is set in a Brooklyn apartment, where painful conversations unfold at the kitchen table, and tensions, as the sisters grapple with grief, tiptoe around the inevitable fight. My favorite scene takes place in the hallway—between the doors of the sister who cared for their father while the others lived separate lives, and where he lies peacefully until his final moments. In this scene, Olsen’s peacemaker character, caught between her sisters yelling at each other, explodes with what is possibly the most damaging language heard throughout the film. In the final act, we watch as the sisters share their experiences with their father and realize how differently they each saw him. This understanding brings them closer, allowing them to grasp the full impact their father had on their lives—a realization made possible only by his absence. Eschewing the format of a traditional family drama, His Three Daughters is a story of what we cannot see, of the work it takes to peel back the layers of someone’s pain, and of the patience required to meet their joy. Director Azazel Jacobs not only captures the tragic, tiring limbo of palliative care, but also offers a sharp snapshot of the bonds only siblings can share, finding laughter amidst the sadness, to tell a story that is ultimately about all the messy and wonderful things a parent leaves behind.