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His Three Daughters often feels like a stage play—not only because it's set primarily in one location and echoes the family dynamics of “King Lear,” but also due to its dialogue-driven, slightly heightened writing style. This creates a sense of emotional detachment, keeping the apartment's confined space somewhat removed from reality so it can exist within its own form of language. However, the film also makes excellent use of cinematic techniques. The restrained direction subtly explores the multiplicities of impending grief, with key details conveyed visually rather than through dialogue, deepening our insight into these characters. The screenplay invites us to immerse ourselves in the richness of the sisters—their flaws, desires, and relationships with one another. Beyond the writing, His Three Daughters serves as a platform for a trio of powerful performances, with Natasha Lyonne standing out as the character I felt most connected to. While the execution of the climactic sequence didn’t fully work for me—this is where the film's shift toward poeticism feels most theatrical—the final gesture brings the story to a quietly transcendent conclusion.
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