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Dysfunctional families, who would have them? Us moviegoers, certainly. There has been a trend of films released in this month centering upon the dysfunction of the family unit. Especially after Ari Aster’s 2018 release, Hereditary. A film the audience seems to hold in their regard, but me, not so much. However, it is a film that Cate Jones takes heavy inspiration from in her debut feature She’s the Eldest, along with a sprinkle of Practical Magic and a touch of Psycho. Very odd combination if you ask me, but I trust it worked for her. It’s always the weird films that have the strongest feminist undertones.
A group of three siblings Leanne (Mary Buss), Mothering and kind, Polly (Cate Jones), a Strong willed feminist, and Jamie (Mickey Reece), a Container child that is vulnerable and childlike, set out to reconnect by going back to their childhood home. Rather than reconnecting, they set out to uncover the mystery behind their parents disappearance.
It appears there is a feast of captivating performances delivered by skilled actors in the film. While some of the side characters don’t seem to evolve at all, they are invariably entertaining when they are on screen. The three siblings are, themselves, a little hard to read; an enigma, if you will. This appears intentional and acts as an important plot twist towards the film’s conclusion. More importantly, they are all relatable, likeable, and there is something about the characters that makes you want to know more about them.
The film captures the reoccurring theme of women having to give up their careers for the better of the family. Women in the workforce tend to hear the tired stereotype of a woman who pursued higher education, acquired qualifications, but ultimately surrendered her career for an underwhelming job and family “These boys They are not worth the sacrifice and pain.” This detail is remarkably captured in a gender flipped manner in the wonderful trashy B-movie (Corgi 2) that the siblings watch together. Indeed, there is a feminist exuberance that is brashly alert and eager to let one know that it is the woman in this case, and not the man, who happens to be the stronger of the two. After all, having to give up one’s dreams for the benefit of another takes strength. The whole experience never feels bitter, however, and is instead underlined by the warmth of good humor.
I must admit, the entire film is in black & white coloring, which as we all know always looks nice. Jacob Burns’ work on the cinematography is quite beautiful as well. I particularly enjoy how the camera captures the motion in the house and the characters as well. It brings so much character to the environment and the people. But then again, I’m not actually sure the b&w adds a dreadful lot to the movie, not until much later: it does add graininess to specific scenes and maybe hints the character’s feel of the past yet another recurring theme here. Frankly, I’m not very sure. And let us be blunt here, that’s how I left the film feeling. What in gods name did I just watch? The whole third act is erm, rather something else. I’m not exactly sure what it is, but it’s most definitely something.
Here and there issue do exist. Some of the dialogues don’t flow as they should and it’s a bit all over the place narratively as well at times. But I love that this is a movie that makes you think, that you are required to put in some effort to get the best out of it. It does not simply hand you the information you ask for, and that is something rare these days; something which is worth praising. She’s the Eldest left me amazed, intrigued and at the same time made me certain of just one thing. I have to say I enjoyed it a lot!
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