‘Good Daughter’, directed by Rachel Annette Helson and penned by Jesse Harris, is a outstanding drama that tip-toes along the tightrope between dark comedy and emotional gut punch. The film stars Samantha Sloyan, who delivers a deliciously conniving performance as a woman who worms her way into the lives of dementia patients by pretending to be their loving daughter – only to raid their belongings and pawn off their treasures.
The cinematography by Danielle Elise Bartley deserves a special nod, with cinematic-style scenes that contrast disturbingly well with the moral grime of Sloyan’s character. The production design further pulls us into this world, with soft colors that belies the dark-hearted schemes unfolding within.
Sloyan’s portrayal of the manipulative daughter-for-hire is cunning and cold-blooded, with a methodical approach to deception. Her performance is magnetic, bringing to life a character both deplorable and oddly captivating. Her character has layers of deceit – from false identities to artfully staged appearances. She’s fully immersed in this life, with no job but this grift; it’s her survival mechanism, a chillingly orchestrated enterprise.
And then – about halfway through – the film flips. When a patient unexpectedly dies in her company, it unearths something unexpected in her. The story shifts in tone, stirring up the consequences of her choices and suggesting there might be more to her than we thought. This moment transforms the story from an entertaining, cynical grift to a profound, almost existential tale.
Helson and Harris’s collaboration is beyond praiseworthy, offering a short that’s both poignant with a smidge of dark comedy. It’s tightly edited, with a musical score that underscores every beat of the tale. ‘Good Daughter’ is finely crafted, engrossing, and just the right blend of heartless and heartfelt. Highly recommended viewing.
