Your Sister's Sister

A Sophomore Success

I guess I should preface this by noting that, apparently, Your Sister's Sister is not the sophomore directorial effort of Lynn Shelton. I was under the impression Humpday was her first, but it is not. But it's the only other one I've seen. About Humpday: I love the mumblecore movement, and I love many of the films that fit under such a classification. Jay and Mark Duplass have done some great things with it, eventually going on to direct major stars (as Shelton has done here) in such films as Cyrus and Jeff, Who Lives at Home (both of which I loved). Those films, particularly Cyrus, combine the mumblecore qualities with more "commercial" material. That's exactly what Shelton has done with Your Sister's Sister, her follow-up to Humpday, which I did not enjoy, but recognized some quality potential in it - particularly in the direction.

Mark Duplass is a very good actor. I saw him most recently in Safety Not Guaranteed, where he played his part to sublime perfection. Here he is exceptional as well, along with other stars Emily Blunt and Rosemarie DeWitt (the particular stand-out for me). All of the actors, however, are great, and generate a subtle nuance that is not only difficult to achieve, but key in the success of the film. From wikipedia I've learned the budget of this film was $125,000. That's only surprising to me because of the talent involved, not because of the intricacies of the filmmaking or story. It's set almost entirely in one cabin, with no extras or big, flashy scenes. Shelton is more concerned with the human dynamics afoot here, which are palpable, and appreciated. Having directed a feature set entirely in one motel room, and worked cinematography/editing on a short set in the same, I've long been fascinated by character-driven stories in limited locales.

This film tells a funny, entertaining, and considerably touching story. Unlike Humpday, which I didn't find to be emotionally involving, Shelton has an amazingly improved sense of human relations; of love, loss, friendship, family, and what happens when all three collide. To call this film dramatized realism would not only be a truism, but a considerable compliment. Few filmmakers these days care about the minutiae of life, and even fewer are capable of capturing that essence on screen, while still entertaining. With Your Sister's Sister, Shelton proves she is efficient at both.

The film is not, however, without its flaws. For example, why is Jack conveniently sent to his best friend's (Iris's) father's cabin, where her sister conveniently happens to be? The explanation is simply that he needs an intervention, and sending him off on his own is the best way to do this. Why? What is the intervention for? At first I thought it may be alcoholism, but Jack does not exhibit the traits of an alcoholic, though he's drunk in the first scene. I guess it's an intervention for his grief, but I'm not sure being sent to an island with nothing and nobody around would really help that much. Isolation rarely helps grief, and such a setting seems only like a place for Jack's mind to enhance its chaotic and destructive thoughts. The impetus seems merely like a convenient segway to get him there, where he will be (conveniently and unknowingly to Iris) alone with her sister Hannah. It's a plot device, and not so much an organic one. It's no secret from any trailer (which I encourage you not to watch before seeing this film) or synopsis that Jack has sex with Hannah after they share some stories and tequila. Okay, now here we have some good drama, which is where the exceptional story-telling reveals itself. I can forgive the inexplicable set-up.

From there, the story develops in some fairly obvious ways (many of which are revealed in the trailer - in fact the trailer reveals much of the overall film), but unlike many films in which the obvious often becomes banality, here it becomes something of a dramatic treasure; it's not the semi-shopworn narrative that we care about, but the smaller details surrounding it. That is a great success of which very few films are capable. There is one plot-twist that seems rather contrived as well, but I shall not ruin it, but will say it relates directly to the film's very final (but still satisfying) scene.

Truthfully, the delights of this film rest not in the essence of the story (which as noted has its contrived bits and a few other flaws), but in its directing (which is phenomenal), acting, and the intricacies that exist on the edge of the story. I'm not sure how much of this was improvised, I suspect some is, but one of the pleasures (like the Duplass's Cyrus) is that I'm not sure where the improv begins and ends. From someone who has toyed with improvised dialogue in filmmaking, that is nothing short of a phenomenal feat on behalf of Shelton and the actors. On the flip side, a film such as Baghead (which I do like), clearly has many moments of blatantly improvised dialogue.

Another curious note is the title. It always reminded me of when I would tell people of "my brother's sister." Which actually meant, my half-brother's half-sister, who is unrelated to me. In terms of this film, I am unsure. It seems as though three siblings would have to be involved, unless you wanted to use it as a roundabout way of saying "you." Roger Ebert says at the inception of his review: "The title of 'Your Sister's Sister' means, I think, that you have a sister and are a sister, in an endless loop." But of course if you have a sister, and you're female, you are one. I throw my hands up.

Your Sister's Sister is a good film. An enjoyable film. A touching film. And leaps and bounds beyond Humpday. I look forward to more films from Shelton.

3.5 out of 4 stars