Sarah Miro Fischer makes her feature film debut with this striking piece of work appearing in the Panorama strand at the Berlinale. A Good Sister looks at a family dynamic after a sibling is asked to testify against her brother after he is accused of rape.
Marie Bloching is The Good Sister of the title; Rose, a medical worker who has just gone through a messy split from an ex-girlfriend. With nowhere to live, she temporarily moves in with her older brother Sam (Anton Weil), who she is extremely close to. They top and tail on the bed in his small flat, sharing the camped accommodation as she attempts to straighten out her life and get things back on track. One night, Sam brings back a girl to the flat and Rose, bleary-eyed and half asleep on the sofa, can hear muffled sounds and smashing furniture coming from the room next door. Unable to get back to sleep, she gets up and heads to the kitchen sink to get some water when a woman appears from her brother’s bedroom and the two lock eyes for a couple of seconds before she leaves.
Fast forward to Rose back at work where she receives word that she is requested to testify against her brother. He’s been accused of raping the young woman on the night in question and Rose now has the burden of whether to go forward to police and prosecutors and go against her beloved brother.
Sarah Miro Fischer, a former student of German Film and Television Academy Berlin (DFFB), offers an impressive feature as her graduation film, an intimate, very well-woven drama with a focus on the fallout of an accusation within a close family unit, and the way in which such cases are dealt with in society. What would you do in Rose’s situation? What should Rose do? Both are questions that are asked, and handled perfectly by the filmmaking team.
Miro Fischer and Agnes Maagaard Petersen’s script shows the fallout of the young woman’s claims, not only on the relationship between a brother and his sister, but also on those around them. The duo’s mother, or course, believes her son, her unconditional love blinding what’s been suggested of him – as too is Rose’s as she goes about everyday life following a bitter break-up. All of the narrative is told from her perspective, from the initial dismissal of the assault, through to the impact it has on her own love life and, of course, the relationship between her and her brother.
There’s great cinematography by Selma von Polheim Gravesen, stunning sound design and some excellent performances, particularly Bloching as the lead. A slow-burner, sure, but at a tight 96 minutes never overstays its welcome. It’s also one of those films that’ll remain with you days after the credits roll.
A bold first work from Sarah Miro Fischer – a really impressive calling card for an exciting new filmmaker who is definitely one to look out for in the future.
The Good Sister was reviewed at the 2025 Berlin International Film Festival where it played in the Panorama strand.
The Good Sister
Summary
An excellent central performance, strong screenplay and bold direction make this a stand-out at this year’s Berlinale.
