Accusations and accusations of serious crimes often set in motion a toxic dynamic that affects the entire environment of the accused person. It often doesn't matter at first whether there is any truth to the claims – because pigeonholing, stigmatization and prejudice set in all too quickly. In Thomas Vinterberg's drama “The Hunt” a radical witch hunt begins for the main character – immediately after she is accused of sexually assaulting a girl.
The male protagonist in Sarah Miro Fischer's directorial debut “Sister Heart” is also said to have committed sexual violence against another person. The interesting thing about this drama is that between the lines, Fischer also addresses the issues of bias and hasty opinions. But she focuses even more on the moral dilemmas that arise on the part of the accused's closest confidants – in this case her sister. With her “sibling drama”, Fischer succeeds in creating an idiosyncratic, confidently staged debut that is not free from some script weaknesses, but illuminates the topics addressed in a complex and comprehensive way.
The relationship between siblings Rose (Marie Bloching) and Sam (Anton Weil) is shaken when allegations of rape are made against Sam.
Rose (Marie Bloching) and her older brother Sam (Anton Weil) are inseparable. Since Rose broke up with her girlfriend, the two have been living together temporarily. But their good relationship is unraveled when Sam is accused of raping a woman. As part of the investigation, Rose is supposed to testify against her own brother. The young woman is torn: on the one hand, she wants to believe Sam, but on the other hand, doubts about his statements are growing. The events put the two's trusting relationship to the test.
Very often you feel like you are watching “Sister Heart” more of a documentary than a feature film. This is due to the attentive camera with which director Fischer gets close to her characters from the first minute, yes, it has to be said like that. Camerawoman Selma von Polheim Gravesen is always close to the actors, especially the siblings who are the focus. We mostly see them in very ordinary moments of living together – cooking, hanging out, brushing our teeth and blow-drying our hair, in conversations or even while swimming in the nearby lake.
A Sister's Doubts
This may sound a bit uneventful or even inconsequential at first. But it's not – because it's human and everyday. This is exactly how intimacy is created. In this way, the people we watch on the screen appear as relatable characters with potential for identification. The raw, authentic hand-held camera images are part of a concentrated, thoroughly intentional production in which Fischer has the courage to take long shots and minute-long dialogue scenes. A prime example of this: a thrillingly played interrogation scene between Rose and an investigator, in the course of which all the uncertainties and insecurities of the doubting sister are revealed.
In terms of acting, Marie Bloching stands out as the internally torn sister. In the transition to the second third (with the emergence of the rape allegations), the mood and tone of the film change – “Sister's Heart” almost develops into a one-person play in which Bloching can be seen in almost every scene. Gradually, Rose begins to question her own “truths” and beliefs. The 29-year-old Bloching, who has a lot of theater experience, plays all of this very precisely and with great tenderness.
Marie Bloching carries the film almost alone from the second third onwards.
Due to the fact that “Sister Heart” focuses so much on the protagonist and her sensitivities, a problem arises elsewhere. There is little space left for the secondary characters, who appear more like staffage. From the mother to a good acquaintance of the siblings to Rose's ex-girlfriend: they all only appear briefly and are more peripheral than serious characters relevant to the plot. It is also a shame that Fischer does not examine some interesting aspects in more detail. Why exactly is there such a dependency between Sam and Rose? Where does Sam's emotional instability and the subtle rivalries between the siblings come from? All of this is left vague and largely up to the viewer's interpretation.
But despite the complex emotions and thematic gravity, “Sister Heart” remains – and this is another great strength – reserved, sober and, above all, neutral. Fischer never judges. Instead, she looks at those involved with empathy and looks at the events without any sentimentality or artificial concern. Wavering between loyalty and an unshakable sense of justice, Rose ultimately demonstrates fortitude and considerable courage. This ultimately shows one of the core messages of the film. Because “Sister Heart” invites you (without any moral pointing fingers) to always take a holistic look at events, i.e. to look at all sides. And: reflect thoughtfully instead of prematurely throwing your own beliefs overboard.
Conclusion: “Sister Heart” is a carefully and soberly staged drama about a complex sibling relationship, consistently told from the perspective of the female protagonist. However, a more careful development of the supporting characters would have been desirable.