“Marie Bloching is nothing short of a revelation.”

The Good Sister, world premiering at this year’s festival, is the feature debut of Sarah Miro Fischer, who also co-wrote the screenplay. The film centers on Rose, a woman at a crossroads who seeks refuge with her brother Sam as she figures out what’s next. Their bond has been a constant source of safety and comfort for Rose, but everything is upended when Sam is accused of rape and Rose is called to testify. The security she once found in him begins to unravel, and with it the foundation of their connection. What was once an unbreakable trust is now in jeopardy as Rose is left grappling with the unbearable question: can she still stand by the person she’s always known or has everything she thought she understood about their bond been shattered forever?

The Good Sister excels in gradually unraveling Rose’s moral dilemma by slowly portraying the growth of her inner conflict as her once unshakeable trust in her brother begins to falter. The film starts by crafting their closeness with such intimacy that it’s felt in every subtle gesture between them – moments that speak volumes and in which the director’s lens never shies away from their alliance. Sam has always been Rose’s anchor, and for a long time she believed him to be her shelter. But when summoned to testify, Rose is forced to reckon with an uncomfortable truth. Sam insists that he hardly knows the alleged victim and dismisses the case as a misunderstanding – proof, in his eyes, that Rose has no reason to doubt him. She considers not attending the hearing at all, convinced that their familial bond would make her testimony seem biased and unlikely to be taken seriously. But when Sam’s latest girlfriend delivers a sharp condemnation, stating, “An apology isn’t enough. If it’s true…” the first cracks in Rose’s loyalty begin to show. As the film progresses, the possibility that Sam may not be innocent becomes harder to ignore, and Rose’s doubts, while never fully voiced, become increasingly hard to suppress. The moral quandary of the film isn’t just about whether to believe her brother – it’s about how a sister can reconcile the person she thought she knew with the possibility of something much darker. As the storm of accusations threatens to tear the family apart, the very trust that had been so carefully nurtured starts to collapse, leaving Rose to navigate a wreckage of love, loyalty, and guilt.

Marie Bloching is nothing short of a revelation in The Good Sister, delivering a distinctive performance that spans a range of emotions. She embodies Rose with a bare, unflinching sincerity, capturing her disbelief that her loving brother could be capable of monstrous acts. In one standout scene, during a birthday gathering, Bloching’s skill shines as her character grapples with her altering perceptions of Sam. The complex situation is reflected in the nuanced expressions across her face, particularly as she praises the brother she’s always known. It’s in these moments, as doubts begin to surface, that the depth of Bloching’s portrayal becomes truly evident. Director Sarah Miro Fischer trusts her to convey the significance of Rose’s internal conflict without words, allowing the emotional turmoil to be carried by her expressions and slight gestures. Perhaps the most impactful moment of the film comes during the witness hearing, where Rose initially lies to protect her brother, concealing the truth of meeting the victim the night of the crime to avoid incriminating him. But then, in a powerful neurotic monologue, she defends him with desperate belief, only to be shattered when she hears the victim’s testimony. The camera lingers on her stunned face, capturing the moment when the horrifying details of the incident sink in, and as the audience we are forced to confront the indescribable truth with her.

The assured filmmaking in The Good Sister is a standout achievement, particularly in how it masterfully builds uncertainty throughout the film. What begins as a quiet, almost intimate exploration of the family quickly escalates into a gripping psychological drama, with each shift in tension growing more intense and palpable. The film’s use of sound is superb as it is a powerful tool elevating the emotional weight of each scene. Whether in the background or through stories being told, the sound magnifies the storytelling, revealing truths without needing images. It channels the rawest parts of our imagination, leaving us to fill in the blanks. As the film nears its conclusion it presents a striking new perspective on the perpetrator, showing him as aware, and apologetic, yet still choosing to protect himself. In doing so, The Good Sister avoids falling into caricature, stereotype, or moralizing as it explores the darkest corners of human nature with a nuanced sensitivity, making it a compelling and fascinating study of morality, flaws, and everything in between.

Image copyright: Selma von Polheim Gravesen / dffb