Jim Jarmusch's Star-Studded Family Drama Snubs Cannes, Stuns Venice

Olivia Bennett, 7/25/2025Darlings, Jim Jarmusch is serving up the ultimate family therapy session with "Father Mother Sister Brother," a triple-course feast of cinematic elegance starring Hollywood's finest. From Tom Waits to Cate Blanchett, this anti-action masterpiece is giving NYFF's centerpiece the indie glamour treatment it deserves. Simply divine!

His latest creation, "Father Mother Sister Brother," has just claimed the coveted Centerpiece Selection spot at the New York Film Festival. And honestly? The timing couldn't be more perfect, especially as we're drowning in a sea of CGI-heavy superhero franchises that seem to multiply faster than TikTok dance trends.

Jarmusch hasn't graced us with a feature since that oddly charming zombie romp "The Dead Don't Die" back in 2019. Now he's crafted what's being called an "anti-action film" — a description that feels both perfectly Jarmusch-ian and deliciously contrarian in 2025's blockbuster-saturated landscape.

The film unfolds as a triptych (because why tell one story when you can weave three?), exploring the complicated dance between adult children and their parents across three continents. The casting? Simply divine. Adam Driver and Mayim Bialik venture into the wilds of New Jersey to check on Tom Waits's hermit father figure — a combination that sounds so bizarre it might just work brilliantly. Meanwhile, Vicky Krieps and Cate Blanchett share screen time with Charlotte Rampling in Dublin, creating what's bound to be a masterclass in refined acting. Rounding out the global narrative, Indya Moore and Luka Sabbat tackle family tragedy in Paris, bringing fresh energy to the City of Light.

Here's a delicious bit of industry drama: after supposedly being passed over by Cannes (their loss, darling), the film's making its world premiere at Venice. MUBI, showing remarkable savvy in these streaming-saturated times, snatched up distribution rights faster than a designer sample sale.

Behind the camera, it's essentially a dream team. Frederick Elmes and Yorick Le Saux are handling cinematography duties, while editor Affonso Gonçalves is presumably working his magic in the cutting room. The result? Well, we'll have to wait until October 3rd at Alice Tully Hall to see — but early whispers suggest something rather special.

Jarmusch himself seems particularly moved by this homecoming to NYFF, calling it "the chosen church of my religion." Leave it to him to make even a press statement sound like poetry. The festival's Artistic Director, Dennis Lim, practically gushed (in that restrained, film-world way) about the project, declaring it "wise, generous, slyly funny, and enormously moving."

The 63rd New York Film Festival runs September 26 through October 13, opening with Luca Guadagnino's "After the Hunt." But let's be honest — Jarmusch's latest might just be the jewel in this year's crown.

In an age where cinema seems to be shouting ever louder for attention (looking at you, summer blockbuster season), there's something utterly refreshing about Jarmusch's characteristically measured approach. Sometimes the quietest voices have the most profound things to say — and darling, this one's practically whispering sweet nothings to cinephiles everywhere.

Well, darlings, the indie film world just got infinitely more interesting. Jim Jarmusch — that delightfully enigmatic master of cinematic cool — is making his grand return to the silver screen, and it's absolutely not what anyone expected.His latest creation, "Father Mother Sister Brother," has just claimed the coveted Centerpiece Selection spot at the New York Film Festival. And honestly? The timing couldn't be more perfect, especially as we're drowning in a sea of CGI-heavy superhero franchises that seem to multiply faster than TikTok dance trends.Jarmusch hasn't graced us with a feature since that oddly charming zombie romp "The Dead Don't Die" back in 2019. Now he's crafted what's being called an "anti-action film" — a description that feels both perfectly Jarmusch-ian and deliciously contrarian in 2025's blockbuster-saturated landscape.The film unfolds as a triptych (because why tell one story when you can weave three?), exploring the complicated dance between adult children and their parents across three continents. The casting? Simply divine. Adam Driver and Mayim Bialik venture into the wilds of New Jersey to check on Tom Waits's hermit father figure — a combination that sounds so bizarre it might just work brilliantly. Meanwhile, Vicky Krieps and Cate Blanchett share screen time with Charlotte Rampling in Dublin, creating what's bound to be a masterclass in refined acting. Rounding out the global narrative, Indya Moore and Luka Sabbat tackle family tragedy in Paris, bringing fresh energy to the City of Light.Here's a delicious bit of industry drama: after supposedly being passed over by Cannes (their loss, darling), the film's making its world premiere at Venice. MUBI, showing remarkable savvy in these streaming-saturated times, snatched up distribution rights faster than a designer sample sale.Behind the camera, it's essentially a dream team. Frederick Elmes and Yorick Le Saux are handling cinematography duties, while editor Affonso Gonçalves is presumably working his magic in the cutting room. The result? Well, we'll have to wait until October 3rd at Alice Tully Hall to see — but early whispers suggest something rather special.Jarmusch himself seems particularly moved by this homecoming to NYFF, calling it "the chosen church of my religion." Leave it to him to make even a press statement sound like poetry. The festival's Artistic Director, Dennis Lim, practically gushed (in that restrained, film-world way) about the project, declaring it "wise, generous, slyly funny, and enormously moving."The 63rd New York Film Festival runs September 26 through October 13, opening with Luca Guadagnino's "After the Hunt." But let's be honest — Jarmusch's latest might just be the jewel in this year's crown.In an age where cinema seems to be shouting ever louder for attention (looking at you, summer blockbuster season), there's something utterly refreshing about Jarmusch's characteristically measured approach. Sometimes the quietest voices have the most profound things to say — and darling, this one's practically whispering sweet nothings to cinephiles everywhere.