# September Says: Ariane Labed’s Bold Adaptation of Daisy Johnson’s *Sisters*
Ariane Labed’s debut feature film, **September Says**, has sparked considerable debate among cinephiles and critics alike. Based on Daisy Johnson’s haunting and critically acclaimed novel *Sisters*, the film delves into the dark, tangled relationships within a fractured family. While Labed’s stylistic choices and commitment to maintaining the novel’s eerie tone are commendable, the film has drawn mixed reviews for its struggles to fully capture the psychological depth and emotional complexity of its source material. In this blog post, we’ll examine the film’s plot, themes, directorial style, character dynamics, and critical reception, offering a comprehensive analysis for film enthusiasts with a keen eye for nuanced storytelling.
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## Plot and Themes: A Darkly Twisted Look at Family Dynamics
At its core, *September Says* is a psychological drama laced with understated horror. The story follows teenage sisters September and July as they move back to their ancestral home in Ireland with their enigmatic and emotionally distant mother, Sheela. The sisters’ relationship is equal parts symbiotic and toxic, marked by moments of tenderness but overshadowed by manipulation, jealousy, and unspoken trauma.
The film opens with their relocation, setting an ominous tone as the remote Irish countryside becomes both a literal and metaphorical prison. September, the older sister, dominates the relationship, exerting a magnetic but unsettling influence over July. Their bond teeters on the edge of obsession, and as the story unfolds, it becomes clear that the sisters are grappling with secrets that threaten to unravel their already tenuous connection.
Labed’s adaptation keeps many of the novel’s core themes intact, including the destructive nature of sibling relationships, the lingering effects of bullying, and the complexities of adolescence. However, where the book excels in psychological nuance, the film sometimes oversimplifies these threads, leaving gaps in the emotional resonance it seeks to achieve.
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## Directorial Style: A Promising Yet Uneven Debut
Ariane Labed, known for her work as an actress in films like *Attenberg* and *The Lobster*, demonstrates a clear visual sensibility in her directorial debut. Her approach to *September Says* is atmospheric and intimate, drawing viewers into the claustrophobic world of the sisters and their mother. The Irish countryside is rendered in muted, desaturated tones, creating a sense of foreboding that permeates the film.
Labed’s use of esoteric horror elements—such as shadowy vignettes, eerie soundscapes, and disorienting camera angles—adds a layer of unease, amplifying the tension between the characters. These stylistic choices are reminiscent of films like *The Babadook* or *The Witch*, where psychological horror is used to explore deeper emotional and relational themes.
That said, some critics have noted that Labed’s stylistic flourishes occasionally feel “forced,” detracting from the authenticity of the narrative. While the pacing remains steady, the film seems to lack the richness and texture of Johnson’s novel, leaving certain scenes feeling hollow despite their visual polish. The macabre undertones are intriguing but do not always align with the emotional beats of the story, creating an uneven viewing experience.
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## Character Dynamics: A Triad of Dysfunction
The strength of *September Says* lies in its focus on the fraught dynamics between its three central characters: September, July, and their mother Sheela. Each character is distinct yet deeply intertwined, their relationships defined by unspoken tensions and shifting power dynamics.
### September: The Charismatic Manipulator
September, as the older sister, is a commanding presence. She is outgoing, bold, and often reckless, dragging July into her schemes, from petty thefts to increasingly dangerous escapades. Her dominance over July is palpable, but it is also clear that September’s actions stem from a place of deep-seated insecurity and fear of abandonment.
### July: The Reluctant Follower
July, by contrast, is more introspective and hesitant. Her desire for independence and a romantic connection sets her apart from her sister and introduces a rift between them. This tension is a key driver of the narrative, as July’s attempts to assert herself clash with September’s need for control.
### Sheela: The Enigma
Sheela, the girls’ mother, is a spectral figure whose presence looms over the sisters’ lives. While her backstory and motivations are left deliberately ambiguous, it’s clear that her emotional unavailability has contributed to the dysfunction within the family. Her role is pivotal to the story’s late twist, which, while chilling, is less impactful for viewers who are familiar with the novel’s climax.
A recurring critique of the film is its treatment of male characters, who remain peripheral and largely undeveloped. While this could be interpreted as a deliberate choice to centre the female-led narrative, it also limits the societal context that might have enriched the story’s exploration of themes like bullying and misogyny.
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## Critical Reception: A Mixed Bag
### Strengths
Critics have praised Labed’s ability to create an atmosphere of dread and her skill in maintaining a brisk, engaging pace throughout the film’s runtime. The film’s humour, though subtle, offers occasional relief from its otherwise oppressive tone, and Labed demonstrates a clear talent for world-building.
### Weaknesses
However, *September Says* is not without its shortcomings. One of the most significant criticisms is its handling of sensitive topics like bullying and revenge. The film skirts around the consequences of these actions, leaving viewers with a sense of unresolved tension. This oversight diminishes the moral weight of the narrative and undermines the emotional stakes.
Additionally, the film’s late twist, while faithful to the novel, feels less impactful in the cinematic medium. Where Daisy Johnson’s prose allowed for a slow, creeping revelation, the film’s twist is telegraphed too early, reducing its shock value.
Finally, the film struggles to fully develop its characters, particularly July, whose arc feels underexplored. While the central relationship between the sisters is compelling, the lack of depth in their individual journeys prevents the film from achieving the emotional resonance of its source material.
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## Conclusion: A Promising Debut That Falls Short of Greatness
**September Says** is a film that showcases Ariane Labed’s potential as a director, offering a visually arresting and atmospherically rich adaptation of Daisy Johnson’s *Sisters*. However, the film’s inability to fully translate the novel’s psychological depth and emotional complexity into a cohesive cinematic experience leaves it feeling somewhat hollow. While it is an engaging watch and a testament to Labed’s promise as a filmmaker, it ultimately falls short of the heights reached by its literary predecessor.
For fans of slow-burn psychological dramas with a touch of horror, *September Says* is worth a watch. However, those familiar with Johnson’s novel may find themselves longing for the nuance and intelligence that made the book such a standout.
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Discover Ariane Labed’s haunting adaptation of Daisy Johnson’s *Sisters* in *September Says*. Explore its eerie themes, compelling character dynamics, and mixed critical reception in our in-depth review.
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