{"id":388176,"date":"2025-09-01T00:58:11","date_gmt":"2025-09-01T00:58:11","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/388176\/"},"modified":"2025-09-01T00:58:11","modified_gmt":"2025-09-01T00:58:11","slug":"reviews-reaction-to-jim-jarmusch-film","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/388176\/","title":{"rendered":"Reviews, Reaction To Jim Jarmusch Film"},"content":{"rendered":"

\n\tFather Mother Sister Brother<\/a>, the latest feature from veteran indie filmmaker\u00a0Jim Jarmusch<\/a>, launched this evening at the Venice<\/a> Film Festival.<\/p>\n

\n\tStarring are Cate Blanchett, Vicky Krieps, Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Sarah Greene, Indya Moore, Luka Sabbat, and Fran\u00e7oise Lebrun in the story of estranged siblings who reunite after years apart, forced to confront unresolved tensions and reevaluate their strained relationships with their emotionally distant parents.<\/p>\n

\n\tCritics have noted that this is low-key fare even by Jarmusch standards, but the notices have skewed positive and many connected with the movie.<\/p>\n

\n\tDeadline\u2019s Damon Wise called the movie \u201can elevated cringe comedy<\/a>\u201d that harkens back to Jarmusch\u2019s earlier work of the 1980s and \u201990s. \u201cCompared to 2005\u2019s Broken Flowers, this is a wilfully obscure step back to his deadpan, experimental roots, a gentle, almost deliberately un-film that is best not viewed in too much proximity to the witching hour,\u201d he writes.<\/p>\n

\n\t\u201cNothing seems to land, but somehow it lingers; enjoy it or not, Father Mother Sister Brother will worm its way into your brain like false memory syndrome, a fitfully funny, if never laugh-out-loud reminder that you can\u2019t choose your family,\u201d adds Wise.<\/p>\n

\t\t\t\t\t\t\"Tom<\/p>\n

\t\t\t\t\tTom Waits in \u2018Father Mother Sister Brother\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tMubi<\/p>\n

\n\tThe Guardian\u2018s Peter Bradshaw gave the film four out of five stars, writing in his review<\/a>, \u201cYou might sit through this film waiting for a crisis or a confrontation: some explosion of temper or passionate demand for honesty. None will arrive. Basically, there is a contentment and calm here, an acceptance and a Zen simplicity that is a cleansing of the moviegoing palate, or perhaps the fiction-consuming palate in general. It is a film to savour.\u201d<\/p>\n

\n\tIndieWire<\/a>\u2018s Ryan Lattanzio gave the film an A-, noting that it provides viewers \u201calmost everything if you can tap into its cool vibrations.\u201d He explained the movie \u201cis about as dry as a physical copy of short stories you\u2019ve loved since you were a child. There are no protagonists or antagonists, just people moving through life, Jarmusch catching moments of them the way that David Lynch once caught ideas like fish moving down a stream. This is a movie Lynch would\u2019ve admired, brittly funny and content to linger in doorways and thresholds for as long as it takes until somebody breaks the awkward silence. Or not.\u201d<\/p>\n

\n\tNext Best Picture<\/a>\u2018s Cody Dericks ranked the film 7\/10, calling it \u201ca cinematic series of variations on a theme, proving to be a gentle yet humorous look at how we interact with the people we have no choice but to know and, hopefully, love. Family interactions on film are often either tumultuous or overly sentimental. Here, Jarmusch crafts an understated story for audiences whose family relations are somewhere in between, and it\u2019s all the more relatable for it.\u201d<\/p>\n

\n\tVulture<\/a>\u2018s Bilge Ebiri wrote that the film \u201cfinds the director in a minor key, which is sometimes his best key,\u201d adding: \u201cA triptych built around a series of aggressively unremarkable interactions, it feels like a film that the director might have made while waiting to make a different, bigger film.\u201d<\/p>\n

\n\tThe Playlist<\/a>\u2018s Marshall Shaffer wrote: \u201cIt\u2019s not an exceptionally distinguished work, either on its own merits or in the context of writer-director Jim Jarmusch\u2019s filmography. It\u2019s not particularly enjoyable to watch or consider in retrospect. And yet, it\u2019s capable of stirring deep, profound sadness in its simplicity.\u201d<\/p>\n

\n\tThe Wrap<\/a>\u2018s Ben Croll had a less flattering view of the film, writing: \u201cBut even if the finale\u00a0makes strong thematic sense, it rarely engages on other, arguably equally important, levels, making for somewhat deflating experience.<\/p>\n

\n\t\u201cBut all that\u2019s par the course, I suppose,\u201d he added. \u201cLike any family, Father Mother Sister Brother has its ups and downs. And, like any family, you\u2019re allowed to pick favorites.\u201d<\/p>\n

\n\tThe International Cinephile Society gave the film four out of five stars, calling it \u201cone of the year\u2019s most lovely, gentle films\u201d, while there were also strong notices in THR and Variety.<\/p>\n

\n\tProducers on the Mubi-backed film are Charles Gillibert, Joshua Astrachan, Carter Logan, and Atilla Salih Y\u00fccer. The Match Factory is handling international sales and reported a host of\u00a0early deals<\/a>\u00a0in July. Along with the U.S., Mubi has the rights for Latin Americathe , UK, Ireland, Benelux, Turkey, and India. Domestic release comes in December. <\/p>\n","protected":false},"excerpt":{"rendered":"Father Mother Sister Brother, the latest feature from veteran indie filmmaker\u00a0Jim Jarmusch, launched this evening at the Venice…\n","protected":false},"author":2,"featured_media":388177,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3935],"tags":[77,134596,3943,16,15,22961,126619],"class_list":{"0":"post-388176","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-movies","8":"tag-entertainment","9":"tag-father-mother-sister-brother","10":"tag-movies","11":"tag-uk","12":"tag-united-kingdom","13":"tag-venice","14":"tag-venice-film-festival"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/115126332075190591","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/388176","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=388176"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/388176\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/388177"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=388176"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=388176"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=388176"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}