Just when Hollywood seemed destined for another predictable holiday season, Jim Jarmusch drops the most delectable cinematic surprise of 2025. His latest offering, “Father Mother Sister Brother,” isn’t just another family drama – it’s a gorgeously crafted triptych that’s about to make your Christmas Eve considerably more interesting.
MUBI snagged this gem for a December 24 release, marking Jarmusch’s first return since that oddball zombie adventure “The Dead Don’t Die” back in 2019. Honestly? The timing couldn’t be more perfect. While the masses queue up for whatever superhero spectacle is wrapping up the year, the real cinema lovers will be settling in for something far more nuanced.
The cast list reads like a fantasy dinner party guest list. Cate Blanchett (fresh off her triumph in last year’s “The Architect’s Dream”), Adam Driver bringing that intense energy we’ve come to expect, and Tom Waits – because who else would Jarmusch trust to growl philosophical observations about family dynamics? Then there’s Charlotte Rampling and Vicky Krieps rounding out this embarrassment of riches. Seriously, when was the last time we saw this much talent in one art house feature?
Structurally, it’s pure Jarmusch – three distinct stories spanning the Northeast United States, Dublin, and Paris. Think of it as “Succession” for the intellectual set, minus the helicopters and plus a healthy dose of existential tea-drinking. The whole thing examines the awkward dance between grown children and their somewhat distant parents, something that’ll probably hit a bit too close to home for many of us this holiday season.
Behind the scenes, Jarmusch hasn’t exactly been shy about his feelings on the state of independent cinema. “The film industry is kind of gone. It sucks. It’s gotten worse,” he told The Guardian recently. Fair enough – especially considering how streaming platforms have changed the game since 2020. Though perhaps that’s what makes MUBI’s multi-territory acquisition all the more intriguing.
The technical crew? Absolute perfection. Frederick Elmes and Yorick Le Saux sharing cinematography duties (and honestly, their combined résumé could fill a film studies syllabus). Mark Friedberg and Marco Bittner-Rosser handling production design, while Catherine George and Saint Laurent’s Anthony Vaccarello ensure everyone looks impossibly chic while having their familial crises.
That first teaser… well, darling, it’s a masterclass in restraint. One particular scene – a debate about whether it’s proper to toast with tea – captures everything that makes Jarmusch’s work so compelling. It’s these small moments, these tiny observations about human behavior, that often reveal the most profound truths.
MUBI’s bold move to release this on Christmas Eve might seem questionable at first glance. But in an era where we’re drowning in CGI spectacles and franchise installments (looking at you, Marvel’s “Phase 7”), perhaps what we really need is a reminder that cinema can still be intimate, thoughtful, and utterly human.
The film’s global distribution rights – covering everywhere from Latin America to Turkey – suggest MUBI knows exactly what they’ve got on their hands. It’s the kind of confident programming that reminds us why we fell in love with movies in the first place.
Sometimes the most universal stories are found in the most intimate moments. Even if those moments happen to feature Cate Blanchett contemplating family dynamics over Earl Grey in three different time zones.
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