The Venice Film Festival just got a lot more emotionally profound, thanks to Jim Jarmusch’s latest, Father Mother Sister Brother. This isn’t your blockbuster—it’s a whispering, three-part triptych that gently excavates family ties, memory, and the awkward spaces in between.

Jarmusch fans know him as the anthology master—this time around, he presents three loosely connected tales set in the U.S., Dublin, and Paris.
Adam Driver and Mayim Bialik visit their eccentric father (Tom Waits) in a snowy U.S. outpost. His shabby facade may be a clever performance—a quiet heartbreak beautifully portrayed with sly humor.
In Dublin, Charlotte Rampling plays a poised novelist flanked by her daughters—Tim (Cate Blanchett) and Lilith (Vicky Krieps). Afternoon tea becomes a battlefield of unspoken tension and layered emotion.
In Paris, twins (Indya Moore and Luka Sabbat) sift through their late parents’ belongings, confronting the grief and curious celebrations of a life lived in relics.

No thunderous confrontations. No easy revelations. Just the gentle art of being in the same room—waiting for laughter, awkward silences, and twinges of regret. The Guardian calls it a “cleansing of the moviegoing palate.”
Critics are loving the low-key brilliance. Cineuropa praises its blend of understated elegance and quiet humor, while Variety marvels at Jarmusch’s ability to turn the mundane into something resonant and visually lovely.
The film made its debut in the main competition at Venice and is already being tipped as a possible Golden Lion contender. It lands in U.S. theaters via Mubi just in time for Christmas—perfect for families looking to reflect without the melodrama.
In a world hungry for noise, Father Mother Sister Brother dares to be quiet—and striking all the louder for it. A must-see for anyone craving cinema that feels like a gentle hug (with a side of existential nudge).