Four Daughters (2023)
In life, there is a sacred line between reality and fantasy. As media continues to evolve and ambition to blend these two worlds increase, more and more projects play this game which can often lead to results of unneeded pain. Perhaps the most infamous example of this is Nathan Fielder's The Rehearsal which saw a real kid get caught in a world of fantasy where he truly believes Fielder is his father and cannot understand or accept the reality of the situation. When one brings real world trauma and pain into a fantastical space, the possibility for further suffering is opened, but with a strong control and hand, so is the possibility for liberation and healing from pain. Look no further than Robert Greene's Procession which allowed a group of men who faced sexual abuse at the hands of Catholic priests to come together and work through film to process their pain and find a new pathway forward. While dangerous, there is a unique power and opportunity that comes from crossing this threshold between reality and fiction that provides opportunity unlike any other.
The newest project to play in this space is Kaouther Ben Hania's documentary, Four Daughters. In the film, Hania brings to life the real story of Olfa Hamrouni and her four daughters, two of which have disappeared. Hania does this by having the family help recreate scenes from throughout their lives using actors to examine their collective trauma and complicated relationships. From the laughs they shared to the trauma that haunts them, Hania builds a patchwork of scenes and understandings that eventually lead to the fracturing of a family and the ongoing suffering that follows.
For many, the first reaction to Four Daughters is going to be confusion. Dropping the audience right into the center of the process with little context or time for them to get their footing, the film starts incredibly messy. Specifically, the film is careful to glance over much of the context surrounding the daughter's disappearance and the details of the family, allowing the audience to start at the beginning of the reenactments and slowly see the specifics of the situation. While this might be frustrating at first, the process is undeniably worthwhile and the reveal of the third act, which absolutely is best experienced unspoiled, makes every choice feel justified and will hit audiences like a brick.
Of course, it isn't like this process isn't without the added support of the real individuals who are active in building these reenactments. Even more so than the fictionalized scenes with the performers, it is in the authentic moments of conversation and emotional reaction from the real individuals that feel the most compelling. Four Daughters is one of the best looks at the complexity surrounding family dynamics in recent memory. It is obvious that these individuals, this real family, have an incredible connection with each-other. Their laughs and reminiscence of events feels wholesome and magical in a way that simply cannot be achieved in a work of pure fiction. What is most interesting, however, is that many of these events are of tragedy and anger.
On the outside, it is easy to villainize the actions of Olfa as she berates her children and forces them into uncomfortable situations, a concept the film doesn't necessarily disagree with, but the acceptance of events and recontextualization of them within the family, now made up of all adults, speaks to something incredibly mature. Trauma and abuse within a family unit are not always simple things to understand or compartmentalize. While the film might not offer a simple answer or solution to the question of how these moments and actions should be interrupted or held, it offers a highly unique yet authentic example of how they can morph and grow, for better and for worse, over time. This perspective is incredibly empathetic and natural with the film not feeling overbearing or forced in moral statements or messages. It allows these characters and their actions to speak for themselves and asks the audience to judge for themselves. It is a rich angle, and one that undoubtedly feels rewarding.
This conversation brings the film into its third act. Without giving anything away, the third act sees the combustion of forces brewing throughout the entire feature, specifically within the two daughters who disappeared. Throughout the film, the pressures both within the home and outside of it from society are seen attacking these two individuals who struggle to find their place and identity. While much of this conversation plays out in a more grounded perspective, the third act sees a realization and consequence of this journey that is shocking and terrifying. The film's identity and purpose evolves into something new, finding a new gravitas and weight that will stick with audiences long after the runtime ends. On reflection, the film's puzzle pieces come together to create a worthy final statement with a relevance and importance that demands to be felt.
While on a first viewing, the film might feel messy, by the end it is clear that Four Daughters is one of the best films of the year. Haunting, honest, and purposeful, the film is a rich discussion and perspective that uses the unique blending of fiction and reality to achieve something simply not able to exist exclusively within either individual side.
The newest project to play in this space is Kaouther Ben Hania's documentary, Four Daughters. In the film, Hania brings to life the real story of Olfa Hamrouni and her four daughters, two of which have disappeared. Hania does this by having the family help recreate scenes from throughout their lives using actors to examine their collective trauma and complicated relationships. From the laughs they shared to the trauma that haunts them, Hania builds a patchwork of scenes and understandings that eventually lead to the fracturing of a family and the ongoing suffering that follows.
For many, the first reaction to Four Daughters is going to be confusion. Dropping the audience right into the center of the process with little context or time for them to get their footing, the film starts incredibly messy. Specifically, the film is careful to glance over much of the context surrounding the daughter's disappearance and the details of the family, allowing the audience to start at the beginning of the reenactments and slowly see the specifics of the situation. While this might be frustrating at first, the process is undeniably worthwhile and the reveal of the third act, which absolutely is best experienced unspoiled, makes every choice feel justified and will hit audiences like a brick.
Of course, it isn't like this process isn't without the added support of the real individuals who are active in building these reenactments. Even more so than the fictionalized scenes with the performers, it is in the authentic moments of conversation and emotional reaction from the real individuals that feel the most compelling. Four Daughters is one of the best looks at the complexity surrounding family dynamics in recent memory. It is obvious that these individuals, this real family, have an incredible connection with each-other. Their laughs and reminiscence of events feels wholesome and magical in a way that simply cannot be achieved in a work of pure fiction. What is most interesting, however, is that many of these events are of tragedy and anger.
On the outside, it is easy to villainize the actions of Olfa as she berates her children and forces them into uncomfortable situations, a concept the film doesn't necessarily disagree with, but the acceptance of events and recontextualization of them within the family, now made up of all adults, speaks to something incredibly mature. Trauma and abuse within a family unit are not always simple things to understand or compartmentalize. While the film might not offer a simple answer or solution to the question of how these moments and actions should be interrupted or held, it offers a highly unique yet authentic example of how they can morph and grow, for better and for worse, over time. This perspective is incredibly empathetic and natural with the film not feeling overbearing or forced in moral statements or messages. It allows these characters and their actions to speak for themselves and asks the audience to judge for themselves. It is a rich angle, and one that undoubtedly feels rewarding.
This conversation brings the film into its third act. Without giving anything away, the third act sees the combustion of forces brewing throughout the entire feature, specifically within the two daughters who disappeared. Throughout the film, the pressures both within the home and outside of it from society are seen attacking these two individuals who struggle to find their place and identity. While much of this conversation plays out in a more grounded perspective, the third act sees a realization and consequence of this journey that is shocking and terrifying. The film's identity and purpose evolves into something new, finding a new gravitas and weight that will stick with audiences long after the runtime ends. On reflection, the film's puzzle pieces come together to create a worthy final statement with a relevance and importance that demands to be felt.
While on a first viewing, the film might feel messy, by the end it is clear that Four Daughters is one of the best films of the year. Haunting, honest, and purposeful, the film is a rich discussion and perspective that uses the unique blending of fiction and reality to achieve something simply not able to exist exclusively within either individual side.