The Sisters Brothers (2018)

Directed by: Jacques Audiard | 121 minutes | adventure, comedy | Actors: John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed, Rebecca Root, Allison Tolman, Rutger Hauer, Carol Kane, Patrice Cossonneau, Zac Abbott, David Gasman, Philip Rosch, Creed Bratton, Lenuta Bala

The western: it doesn’t get more American. At least you would think so. Yet Europeans have proven countless times that they can also handle this genre very well. The Italians in particular managed to master this movement in the 1960s and 1970s and introduced the concept of ‘spaghetti western’ into the world. In 2018, the world had an ‘escargot western’ fired at itself. Frenchman Jacques Audiard decided to venture into this genre as well. It provided a remarkable viewing experience.

‘The Sisters Brothers’ revolves around the brothers of the same name. Charlie (Joaquin Phoenix) and Eli (John C. Reilly) Sisters are on their way to Oregon City where gold can be found. Charlie is willing to kill to get rich, while his brother is not willing to go that far. It creates tension between the two.

In his American debut, the obstinate Audiard once again draws his own plan. The idiosyncratic director flirts with a few genre clichés, but never puts down a standard western. For full-blooded action, ferocious cowboys, dangerous Indians and countless spectacular stunts, don’t watch this film. ‘The Sisters Brothers’ is more of a character study that explores human nature. Greed, envy, bloodlust and morality take the lead. As a die-hard western fan, it is therefore advisable to adjust your expectations.

The acting is strong. Phoenix and Reilly are well attuned to each other. The roles of Jake Gyllenhaal, Riz Ahmed and ‘our’ Rutger Hauer also impress. Also new to Audiard is the sparing use of humor. This film is somewhat lighter than his earlier work. Not that this is a thigh-beater, but compared to ‘Un Prophète’ and ‘De rouille et d’os’ this is a fairly easily digestible film. ‘The Sisters Brothers’ is a special film and again proof that French westerns are idiosyncratic. In 2004, Jan Kounen, who was born in the Netherlands but who lives in France, proved with the downright psychedelic ‘Blueberry’ that American historiography is viewed in a special way in the country of du pain et vin. Are you open to a surreal film about cowboys and Indians then this is your thing. The ‘escargot western’ is simply an acquired taste…