Your Sister’s Sister begins with a somber moment. One year after the death of a man named Tom, his friends and family have gotten together to remember him. Most talk about how special and kind he was, a person who was always willing to lend a helping hand, but his still grieving brother, Jack (Mark Duplass), remembers him differently. He remembers him as the little hellion he was when they were kids, before everybody else in the room met him. After ranting about how terrible he could be (not out of hate, but out of his disgust for people who claim to know so much about him, but really don’t), his best friend and Tom’s ex-girlfriend, Iris (Emily Blunt), tells him to take a load off and get away for a while. She tells him to go to her father’s cabin where he will be shut off from the world, but when he gets there, he finds her lesbian sister Hannah (Rosemarie DeWitt), who has also retreated there to get away from a difficult situation.
This is where the movie takes a turn. It becomes more humorous and the two characters who have never met each other before begin to form a bond. After a long night of drinking, they end up having sex with each other. What’s clear in these early moments is that the characters are indeed facing central problems that motivate their actions, but the movie smartly never dwells on them. It never forces us to feel bad for either of them, instead allowing us to make up our own minds based on what they do and say, not how the screenplay wants us to feel.
A large portion of this could be because of its improvised nature, a staple of the recent so-called mumblecore film movement, but this isn’t like, say, Humpday, which consisted of 10 written pages with no dialogue. Your Sister’s Sister is a 70 page treatment that clearly has a narrative and emotional path in mind, yet it allows the actors to forge that path themselves. It’s the best blending of mumblecore with traditional filmmaking to date.
But while the characters are strongly defined through equal parts performance and writing, they’re stuck in a story that would feel like a gimmick in a romantic comedy. When Iris shows up the next morning after Jack and Hannah’s rendezvous, a number of things are learned, of which I’ll leave secret for fear of revealing spoilers. Although the events are handled more delicately than they would be in a more conventional rom-com, they are no less banal and inconsequential, the latter adjective used only because the film wraps up a hugely complex and precarious situation in an unbelievably tidy manner. The overly simplistic conclusion makes the conflicts feel minute in scale, despite their essentiality to the story.
Nevertheless, Your Sister’s Sister is a solid movie, featuring a trio of excellent performances and dynamic character relationships that ring true in every scene. Above anything else, the film is about sibling love and forgiveness, even when that sibling has done something unforgivable. For the most part, it succeeds both narratively and emotionally in what it sets out to do (despite a silly and heavy handed end speech), but Your Sister’s Sister never rises above that humdrum feeling its premise elicits.
Your Sister’s Sister receives 3.5/5