Mark Duplass, Emily Blunt and Rosemarie Dewitt are all terrific in this dramedy of errors (so to speak…), and the way that all three get to have their own satisfying arcs without any of them feeling shortchanged is a testament to Shelton’s economical storytelling skills and her deft way of building flawed, three-dimensional characters who are all suffering, in some way, from their own crisis of conscience. Released in 2012 after premiering the previous year at the Toronto International Film Festival, Your Sister’s Sister centers on a woman named Iris (Blunt, refreshingly de-glamourized, nervous, edgy) who invites her best friend, Jack (the wonderful Duplass, hitting all the perfect notes of scruffy machismo), to stay at her mountain cabin so that he can “find himself” and just get away from all his troubles, as he’s still recovering from the sudden death of his brother a year previous. Once at the secluded cabin, much to his surprise, he discovers that Iris has a complicated sister, Hannah (the amazing DeWitt), who also happens to want to use the cabin has her escape from the pressures of the outside world. Before you can say “meet cute,” they two lost souls are doing shots, and then getting hot and heavy, but what Jack doesn’t realize is that Hannah is a lesbian, and there’s more to the story than he could ever know. And of course, in classic Woody-esque fashion, men and women can’t just be friends, and the mutual attraction between Jack and Iris bubbles up the surface in the final act, when all sorts of painful revelations are shared and discovered. And then there’s the sister connection that this film provides, and in the scenes between DeWitt and Blunt, Shelton demonstrates an inherent understanding of the complexities that two female siblings often times share with each other.
Your Sister’s Sister never misses a beat. For 90 perfectly calibrated minutes, Shelton brings you into a dramatically conflicted world for three compelling characters, and by keeping the location work insular and cozy, the viewer is able to quickly latch on to Jack, Hannah, and Iris, so as a result, the audience’s understanding of the character’s various faults and desires are all the more attainable and relatable. Duplass is spectacular in a tricky role, one that requires you to root for him AND to understand his faults, and as always, it’s an absolute joy to watch him on screen in anything he pops up in (he and his brother are also supremely accomplished filmmakers in their own right). DeWitt, who feels like a natural for Shelton’s easy-going style, creates a maddening portrait of anxieties and uncertainty, taking on the role of a confused woman who has a few morally questionable tricks up her sleeve. And while Blunt has taken on a lot of ass-kicking roles of late (Looper, Edge of Tomorrow, the upcoming Sicario), she brought her usual brand of sexy, sultry charm to the role of Iris, creating a person who feels very grounded and honest (this and her work in the underrated Sunshine Cleaning with Amy Adams feel like her most personal performances). And then there’s the ending, which for me, was the only possible way to finish up this contemplative movie; there are no easy answers in life, so why should Shelton have to tie a bow on the final moments of her story? Without spoiling anything, the film closes on a note of hopeful optimism, but considering all that has come before the denouement, I’m reluctant to say that there’ll be a big red bow on the top of life for all of the parties involved. Your Sister’s Sister is a fantastic movie that knows exactly how to play its cinematic hand.