The Diva Del Mar Reviews Dearest Sister at Fantastic Fest
One of the many treats of attending Fantastic Fest is the opportunity to watch movies from many countries, depicting stories of other cultures that one doesn’t easily encounter in American mainstream cinema. Foreign independent cinema allows a first person perspective of another culture and director Mattie Do brings us the 13th film ever made in the country of Laos: Dearest Sister.
The story revolves around the relationship of two cousins. Nok, the younger of the two women, is a poor country girl who is sent to care for her married rich cousin. Her family needs the money and Nok’s cousin, Ana, is slowly losing her sight to an unnamed disease while her busy husband, Jakob, is struggling to keep his business afloat. Nok dominates the screen time and the first third of the film follows her about as she explores the city and her new digs. Nok quickly succumbs to the materialism of the big city and we discover that she has a very weak moral compass in the face of temptation, even if it means sacrificing the well-being of her benefactor, Ana. Nok’s treachery and deceit create the framework for the major story arc, while the subplots surrounding her relationships with the lesser characters in the story add a depth of understanding towards the general state of life for women in Laos.
The film introduces a supernatural element through Ana’s character. And, although this film is characterized as horror, I would say that it’s mostly a psychological thriller, made rich by the backdrop of each characters’ individual problems. Ana, a trophy wife for her Estonian husband, struggles to deal with her worsening eyesight and the mysterious phenomenon that plagues her. Jakob is fighting to save his failing business while desperately seeking medical help for his wife in a country as underdeveloped as Laos. Also coming into play is the couple that work as Ana’s household servants. They add an interesting element to the story with their own influences in Nok’s life. And I think this is the strongest facet that Do brings to her film. Each character’s individual story line illustrates a unique perspective of socio-economics in Laos. We see this strongly in Nok’s character, who is encouraged to try to bag a rich white guy while she is in the city. It leads us to assume that this is precisely how Ana found her wealthy life with Jakob, reminding us that this is a valid source of income for women in Laos.
The pacing is pensive, requiring viewers to patiently absorb what the movie offers. It’s a slow burn, and I found that the creepy moments felt REALLY creepy after the gentle rhythm of the movie throughout. The word practical also comes to mind when I think about this film. It delivers a good story without bells and whistles. It feels real. If you like over-the-top drama in your thrillers, this is not the film for you. If you love a tale well told with an uber-satisfying ending, make sure you catch this foreign indie from Laos.
Poetic and understated, I loved this film and I can’t wait to see what Mattie Do does next!
Thanks for reading,
Diva Del Mar
