What Daughter lacks in scope (this is an intimate piece confined, mostly, to a single setting) it makes up for with a queasy, uncomfortable tension and a mystery box quality that remains intriguing without slipping into infuriating. Deshon’s script manages to divulge just enough to keep the viewer interested, whilst still not really offering clarity as to what is actually going on.
This is partly achieved by our central quartet. Casper Van Dien is the most recognisable figure, and his turn as Father is revelatory, exuding authority and threat whilst also hinting at a patriarchal warmth. But as much of a precedence as Van Dien is, it is Vivien Ngô’s Sister who is our conduit into this world, and she is a warm and enigmatic figure, with Ngô proving a talent to watch. Both Elyse Dinh (Mother) and Ian Alexander (Brother) are great in supporting turns that feel as morally murky as the rest of the parts. One can feel the influence of Yorgos Lanthimos in the character's delivery, with these turns highlighting the director’s control over the material.
Shot on 16mm, there is a grainy beauty to Daughter, an aesthetic that harks back to 70s sci-fi. That, added to a sense of paranoia, and we could be watching a lost film from this decade. But this is a grippingly modern film with much to say on truth and how it can be manipulated by authority figures. What little violence there is shocks and Daughter leaves a strong impression. At times this is a grueling watch but it finds something new to say in a subgenre that speaks to our time.
Daughter will be available to own or rent in the UK & Ireland from Feb 20 via AppleTV, Amazon, Sky Store, Virgin Media and Google Play.