Azazel Jacobs’s film, His Three Daughters, opens with a series of intricate, almost theatrical monologues delivered by the three adult daughters of a dying father. Despite this bold choice, the performances of the talented actresses involved elevate the narrative. The film introduces Carrie Coon’s character, Katie, who takes on the role of the responsible sibling, detailing a list of tasks and grievances to her sister Rachel, played by Natasha Lyonne. The youngest sister, Christina, portrayed by Elizabeth Olsen, plays a nurturing role, careworn as she looks after their father, who is on hospice care at home. Despite her motherly demeanor, Christina’s uncertainty is palpable, often ending her statements with a nod, as if convincing herself of their truth. Rachel, who has long lived with their ailing father, struggles to engage, reacting more than contributing.
As the film progresses on Netflix, it moves away from its theatrical beginnings, focusing instead on the varied ways these sisters process their father’s imminent passing. For much of the movie, their father remains unseen as the sisters navigate their complicated relationships. Katie expresses frustration towards Rachel’s lifestyle choices, particularly her use of marijuana, while Rachel fluctuates between defiance and compliance in a shared living space that heightens their tensions.
Jacobs’s screenplay paints Katie and Christina in less nuanced lights, presenting them as archetypes—Katie as the high-achieving city dweller and Christina as a gentle suburban mom—contrasting starkly with Rachel’s more laid-back approach. Though the familial dynamics feel familiar, the characters occasionally tip into predictability. Although viewers anticipate some growth from these interactions, the revelations about the sisters and their father do not take surprising turns.
Nonetheless, the performances breathe life into the film. Carrie Coon’s Katie compellingly embodies constant agitation, demanding engagement from her sisters with her piercing gaze. Elizabeth Olsen conveys Christina’s attempt to mask insecurities with warmth and positivity, while Natasha Lyonne’s effortless charm makes Rachel’s carefree attitude relatable. Despite the narrative’s predictability, these actresses draw viewers into their interactions.
The film emphasizes a theme of waiting—whether for death, reconciliation, or confrontation—capturing the emotional fatigue that comes with caring for a dying loved one. By withholding the father’s presence for a significant portion of the film, Jacobs directs focus to the daughters’ relationships with each other, reflecting how their histories with their father inform their communication.
The film concludes with an unexpected twist surrounding their father’s presence, played by Jay O. Sanders. When he is finally seen, appearing lucid and breaking free from his medical constraints, he embarks on a surreal monologue about his daughters and his love for New York. However, this moment is ultimately revealed to be a fantasy, serving more as an unanticipated plot device than an authentic resolution. It suggests Jacobs grappled with concluding the film, opting against a straightforward depiction of death, mirroring the struggles of his characters.