ZFF 2022 #19

Even at her weakest, Ursula Meier is still pretty good. The plot, such as there is one, is mostly a flimsy excuse to explore three (potentially even four) fascinating, messy women of different generations and walks of life drawn together by the accident of being related, which leads to a series of indelible, downright painful scenes. Meier overcranks the melodrama though, which becomes evident already in the slow-motion prologue and which repeatedly pushes the whole affair too far in the direction of parody.