A reporter witnesses a brutal murder and becomes entangled in a mystery involving a pair of Siamese twins who were separated at birth, one of them forced to live under the eye of a watchful, controlling psychiatrist.
A long weekend brings four women together in the countryside. Virtual strangers, the women are forced to navigate the depths of social interaction. On the surface all seems placid. But the atmosphere of calm is a facade.
A three-paneled look at the worldwide AIDS crisis: in Montreal, a porn actor (Ashmore) schemes to pass his mandatory blood test; a young nun (Sevigny) makes a personal sacrifice for the benefit of a South African village; in rural China, a black market operative (Liu) posing as a goverment-sanctioned blood drawer jeopardizes an entire village's safety.
A young doctor goes home with a dazzlingly beautiful young woman he meets while volunteering at a party for children at a Vancouver mental health clinic. The next day is her birthday (as well as that of her twin sister, her unseen flatmate). After a night of lovemaking, the young doctor goes out in search of a cake. Meanwhile, a reporter who crashed the kids' party breaks into the office of the physician in charge of the clinic, only to witness a murder on a closed circuit television in the doctor's office. With the help of an investigator, the reporter pursues the truth, which eventually takes her back to the clinic. Does her own past hold the key to what she'll uncover?Written by
This film is a remake of Sisters (1973). See more »
In one of the memos Grace found in Dr. Lucan's office about Sophia Tristiana's mental state, there are four spelling errors in just two sentences: "validatity" for "validity"; "there" for "their"; "diagonsis" for "diagnosis"; and "abillties" for "abilities." See more »
The original "Sisters" could very well be Brian De Palma's best film, showing an efficiency in screen writing and a surplus of style that earmarked him as the closest American filmgoers would come to an heir to Hitchcock (even if his string of '80s imitations and '90s sludge effectively silenced the initial hype). In a lot of ways, Douglas Buck's remake seems as pointlessly unnecessary as any other that has come down the pipeline in the past decade, but his "Sisters" quickly subverts our expectations--where De Palma's slick stylistic efficiency stood now gives way to an impressive character study (even those who favor De Palma's film--myself included--will find much to like here) that peels back psychosis like the layers of a particularly rancid onion. While Buck may lack the visual finesse that made De Palma's film so aesthetically compelling, he makes a virtue of his low budget: the performances are subtly convincing (Chloe Sevigny nails the deadpan drive of journalist Grace Collier; Stephen Rea boldly manifests the sinister shrink Dr. Lacan; and newcomer Lou Doillon possesses a foreign exoticism (think Isabella Rossellini in "Blue Velvet") as Angelique Tristiana, who is experiencing a peculiar 'separation anxiety' from her murderous twin, Annabel), the story surprisingly rich with detail, and some of De Palma's classic scenes (the black-and-white hospital hallucination in particular) are given an overhaul that invokes the unease of Polanski and Argento while putting the emphasis on a repulsion that stems more from the damaged psyches of the characters than any splattery gore effect. And it is especially during the climax in which Buck makes "Sisters" his own, leaving us with a twist more emotionally endearing and disturbing than De Palma's gimmicky, tongue-in-cheek denouement--the subtle image of two characters walking away from their past to begin anew carries a chill more effective than any overblown, blood-soaked redux from Platinum Dunes. This "Sisters" attests to the fact that a low budget, when wielded properly, can yield big rewards.
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