His Three Daughters: A Family Drama Reflecting Complex Interpersonal Dynamics

Azazel Jacobs’s new film “His Three Daughters,” now streaming on Netflix, is a poignant exploration of familial relationships against the backdrop of an impending death. The drama centers around three grown daughters played by Carrie Coon, Natasha Lyonne, and Elizabeth Olsen, who come together in a New York apartment to be with their dying father, Vincent, portrayed by Jay O. Sanders, during his final days.

The film opens with intense monologues from the daughters, setting a theatrical tone that gradually softens as the story unfolds. Carrie Coon plays Katie, the self-appointed adult in the room, who manages a long list of grievances and responsibilities. Elizabeth Olsen’s character, Christina, is the youngest, bearing a facade of maternal responsibility, yet harboring self-doubt. Meanwhile, Natasha Lyonne’s Rachel is a pot-smoking, overwhelmed daughter who has lived with their father for years but struggles to face the reality of his impending death.

“His Three Daughters” draws comparisons to Shakespeare’s “King Lear”; however, unlike Lear’s daughters, these women are not vying for power but grappling with their complex relationships and memories. The script mirrors the nuances of real family dynamics, with Katie’s bossiness, Christina’s perceived perfectionism, and Rachel’s perceived outsider status.

The film presents a deep dive into the sisters’ interpersonal conflicts—conflicts that are compounded by their father’s condition and their memories. Despite their differences, each daughter harbors a unique love for their father, leading to moments of intense confrontation and brief reconciliation.

The film’s narrative is nearly confined to the family’s apartment, a setting that captures the audience’s attention through its emotional intensity rather than its visual expansiveness. This setting serves as a microcosm for their shared history, with cinematographer Sam Levy providing a distinct emotional landscape within the cramped quarters.

As the film progresses, it becomes a meditation on waiting—waiting for death, resolution, and understanding. This culminates in a surreal, emotionally charged scene where Vincent, who remains mostly unseen and unheard for much of the film, delivers a powerful monologue that is both a fantasy and a stark moment of reflection. Jay O. Sanders’s brief yet impactful performance adds depth, bringing a new perspective to the challenges faced by his daughters.

Despite some predictability in character arcs, the performances from Coon, Lyonne, and Olsen inject authenticity into the screenplay, making “His Three Daughters” a compelling drama. Ultimately, the film is a testament to the complexities of sibling relationships and the profound emotional undertow of family legacies.