The holidays bring good cheer — an opportunity to reflect but also, most likely, the anxiety of family. Jim Jarmusch’s latest film isn’t set during the season, although the faint flickers of awkwardness, resentment and guilt that pass across its characters’ faces may be painfully familiar to audiences who have an uneasy relationship with their parents. “Father Mother Sister Brother” is here to commiserate, but because the veteran indie auteur remains a sharp chronicler of the quotidian, he has no patience for sentimentality or pat resolutions. The movie glides by so unassumingly, you may be stunned how moved you are by the end.
“Father Mother Sister Brother” is divided into three chapters, each examining a separate family. In the first segment, set somewhere in the Northeast, siblings Jeff (Adam Driver) and Emily (Mayim Bialik) visit their unnamed father (Tom Waits). The second tale shifts to Dublin, where sisters Timothea (Cate Blanchett) and Lilith (Vicky Krieps) arrive at the home of their mother (Charlotte Rampling) for their annual tea party. And in the final chapter, twins Skye (Indya Moore) and Billy (Luka Sabbat) reunite in Paris to close up the apartment owned by their parents, who recently died in a small-plane crash.
Jarmusch has occasionally sliced his narratives into pieces: His films “Night on Earth” and “Coffee and Cigarettes” were anthologies tied together conceptually. Initially, “Father Mother Sister Brother” appears to be similar, but there’s a cumulative power to the movie, which won the Golden Lion at the Venice Film Festival, that reveals a subtle but profound thematic undercurrent.
The first clue comes in the “Father” chapter, which begins with Jeff and Emily in the car. There’s a stilted quality to the conversation as they discuss their eccentric, inscrutable dad. The visit has the heavy air of obligation — they don’t see Dad very often — and when he clumsily welcomes them into his ramshackle house, pregnant pauses and pursed lips ensue. Nothing much happens, until the segment’s finale introduces a twist that suggests the yawning chasm between what we think we know about our parents and what the truth of their lives is.
Once we move to the “Mother” sequence, we’ve started to acclimate to the movie’s discomfiting rhythms — which is good considering that, if anything, Timothea and Lilith’s relationship with their mom is even frostier. Their mother’s polite, excessively formal demeanor cannot mask her befuddlement regarding how to relate to her children. Decked out in an unflattering haircut and eyeglasses, Blanchett plays Timothea as terminally mousy, still craving her aloof mom’s approval. By comparison, Krieps’ Lilith is more assertive, proudly showing off her pink-dyed hair and bragging about a Lexus she doesn’t actually have. Rampling crackles as a matriarch who can sniff out her kids’ lies and insecurities but has the good manners not to say anything. Or maybe it’s not kindness at all but, rather, a way to reassure herself that she will always have the upper hand.
The film’s persistent brittleness may make some viewers antsy. That’s partly the point, but hopefully, they’ll soon be swept away by the movie’s melancholy undertow. Working with a minimalist keyboard score he co-wrote, Jarmusch fills the silences with an ineffable despair. You can feel it in the way Emily looks out her father’s window to the lake beyond, the wintery tableau both tranquil and poignant. You sense it when Timothea quietly inspects herself in a bathroom mirror, wishing her life was more than it is.
Such moments could make you cry. But Jarmusch’s deadpan approach often chases that sadness with a wry chuckle during instances of unfiltered honesty. Krieps relishes portraying her character, a big-talking phony hoping to wow her mother and sister. (At one point, Lilith announces, “I almost hate to say it, but my life’s been like a dream.” Blanchett’s reaction is delicious.) Eventually, we learn to look past Jarmusch’s deceptively mundane surfaces to see the fraught, unresolved issues within these guarded families. The characters occasionally expose their true selves, then just as quickly retreat, fearful of touching on real conflict.
Which brings “Father Mother Sister Brother” to its most affecting sequence. It would be a spoiler to disclose anything about Skye and Billy’s intimate saga, but what becomes clear is that Jarmusch has fashioned the “Father” and “Mother” installments in such a way that the final “Sister Brother” segment hits differently. Just as importantly, Moore and Sabbat’s lovely performances slyly alter our impressions of those previous chapters, building to some of the tenderest moments of Jarmusch’s career.
Turning 73 in January, Jarmusch has lost none of his edge or preternatural cool, but the depth of feeling in recent works like 2016’s “Paterson” becomes, here, a bittersweet meditation on the anguish of trying to unlock the mystery of our aging parents. In “Father Mother Sister Brother,” family can be hell, but the only thing worse is when they’re no longer with us.
Emily in Paris is back for even more drama, this time around though, one of its key stars was missing.
Emily in Paris season five has dropped but subscribers have been left scratching their heads over the whereabouts of Emily’s friend and rival, Camille deLalisse.
From the get-go of the Netflix rom-com drama, Camille deLalalisse (portrayed by Camille Razat) played a pivotal role, forming part of the love triangle with Emily ( Lily Collins ) and Gabriel (Lucas Bravo).
So when fans noticed that Camille was absent from all 10 new episodes, it sparked speculation about her fate and potential return.
Camille’s journey in Emily in Paris seemed to reach a natural end in season four after she called off her wedding to Gabriel, but her story wasn’t quite finished.
She soon found out she was pregnant, only to later discover it was a false positive. However, Camille kept this secret for a while, hoping to keep Gabriel in her life.
At the same time, Camille was navigating a budding relationship with artist Sofia, but due to lingering feelings for her ex-fiancé, things didn’t pan out.
Eventually, she revealed the truth, and the entire ordeal made Camille realise her desire for a family, leading her to announce plans to adopt a baby on her own.
Season four concluded with Camille moving into a new flat, complete with nursery space, leaving behind her tumultuous past with Emily and Gabriel.
While Camille was noticeably missing from season five, this doesn’t necessarily rule out her return in future series.
Taking to Instagram to discuss her departure from the programme, Razat revealed: “After an incredible journey, I’ve made the decision to step away from Emily in Paris.
“It has been a truly wonderful experience, one filled with growth, creativity, and unforgettable memories.
“I’m deeply grateful to @starmandarren and the entire team at @netflix and @paramountpics for their trust and for giving me the opportunity to bring Camille to life and leaving the door open for her return, as she will always be a part of Emily In Paris world.”
However, Razat has numerous other ventures lined up, revealing she’s wrapped filming on Nero The Assassin for Netflix and The Lost Station Girls for Disney+.
The 31-year-old also disclosed that she’s launched her own production company Tazar Production, which will concentrate on developing music videos and short films, though has already begun work on a feature film.
Wrapping up her Instagram message, Razat noted: “This character has meant a lot to me, and I feel that her storyline has naturally come to an end. It felt like the right moment to explore new horizons.
“I leave the show with nothing but love and admiration for the cast, crew, and fans who have supported us along the way. Thank you for the beautiful ride.”
Welcome to Screen Gab, the newsletter for everyone who wants to spend some time revisiting Rob Reiner’s indelible mark on pop culture.
For many of us, it was already that time of year when we pop in our DVD of “When Harry Met Sally…” or figure out which streaming service has it in its library (or digitally rent it, if none do), and passively recite every quotable moment until Harry’s breathless declaration of love on New Year’s Eve necessitated our full performance. It was a comfort watch in the best sense because of how joyous and hopeful it left so many of us, even cynics, feeling. This year, as the tradition now becomes layered with sadness following the tragic deaths of Reiner and his wife, Michele Singer Reiner, there’s at least comfort in knowing all the Hollywood magic he brought to life (whether he was directing, or starring in a production) that was full of humanity, humor and heart, and accompanied us at different stages of our lives, can continue to do so. Members of our film team took a look at some of Reiner’s best films, many of which can be streamed. And TV critic Robert Lloyd reminded us of Reiner’s contributions to television, particularly through shows like “All in the Family” and “New Girl” (“Lettuce, tomato, lettuce, meat, meat, meat, cheese, lettuce” — iykyk).
But if it’s all too soon, we get it. Maybe our other streaming recommendations can provide an escape — one is a TV drama about a disillusioned Broadway director returning home to his amateur community theater, and the other is a mystery thriller with an unlikely duo teaming up to investigate the case of a missing girl.
Also in this week’s Screen Gab, “Emily in Paris” actor Samuel Arnold stops by Guest Spot to tell us about the behind-the-scenes adventures of the show’s Italian-set fifth season.
ICYMI
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Julianne Hough near the Dolby Theatre at the 97th Academy Awards earlier this year. The Oscars are moving to YouTube, sending shock waves through Hollywood.
(Robert Gauthier / Los Angeles Times)
What the Oscars moving to YouTube means for broadcast TV: The Academy Awards will stream on YouTube beginning in 2029, ending a more than five-decade run on broadcast television and marking the show’s biggest distribution shift in its history.
Recommendations from the film and TV experts at The Times
Harry McNaughton as Charlie Summers, a disillusioned Broadway director returning home to his amateur community theatre in “Happiness.”
(Andi Crown Photography / PBS)
“Happiness” (PBS app, pbs.org)
What could be better, at this festive time of year, or any other time, than a backstage musical comedy set in an amateur theatrical company in New Zealand’s fifth-largest city? Harry McNaughton plays Charlie Summers, whose Broadway dream dies when he’s fired as the director of a “Cats” revival and, losing his work visa, returns home to New Zealand for what he hopes will be only a couple of days. Naturally, it turns out otherwise, with Charlie drawn reluctantly into the production of a new musical, “The Trojan Horse,” at the Pizazz theater, run by his mother (Rebecca Gibney) and stocked with a original twists on classic characters: a dictatorial director, the always-cast leading lady, a talented ingénue, a buff electrician with a great voice and the shy high school music teacher who wrote it, making themselves and their desires quickly felt. (There’s a feminist thrust to the plot.) The songs are tuneful and witty, the performances fun, the atmosphere charged but charming. Presented in six 20-minute episodes as part of “Masterpiece Theater.” — Robert Lloyd
Emma Thompson as private investigator Zoë Boehm and Ruth Wilson as art conservationist Sarah Trafford in “Down Cemetery Road.”
(Matt Towers / Apple TV)
“Down Cemetery Road” (Apple TV)
Nothing says the holidays like a gripping crime drama where everyone’s a suspect! Apple TV’s smart and unvarnished British series follows Zoë Boehm (Emma Thompson), a private investigator who hasn’t the time or bandwidth for social niceties, shows of emotion or combing her hair. She’s thrown together with homemaker and art restorer Sarah Tucker (Ruth Wilson), a passive suburbanite who likes 4 Non Blondes.
Their sparring personalities create the undeniable chemistry that’s at the heart of this eight-part series, while the drama’s unexpected turn of events and fast pacing make it hard to hit pause. The two women are connected when a deadly residential explosion rocks Sarah’s neighborhood. A woman was killed, but her young daughter, who made it out alive, has mysteriously disappeared. The quest to find the girl pulls the odd-couple investigators into a complex and dangerous cover up by the Ministry of Defense, and they discover the explosion was in fact an orchestrated assassination.
Morwenna Banks’ adaptation of Mick Herron’s debut novel of the same name, “Down Cemetery Road” also features the PTSD-plagued Downey (Nathan Stewart-Jarrett), the villainous Amos (Fehinti Balogun), bumbling agent Hamza Malik (Adeel Akhtar) and his sociopathic boss, C (Darren Boyd). But it’s Thompson’s gruff character who gets the best lines, such as the one she says to a potential client: “I don’t drink Prosecco and I don’t bond emotionally.” The show has already been renewed for a second season. — Lorraine Ali
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Samuel Arnold as Julien in Season 5 of “Emily in Paris.”
(Netflix)
Every office needs a deliciously snarky employee who is too fabulous to work, but still manages to grace the room with their presence to boost the vibe. In “Emily in Paris,” that person is Julien. The quippy, sharply dressed and gossip-loving character, played by Samuel Arnold, has been a bright spot in the series over its run. Initially the guy who liked to remind Emily she was une ringarde American, he’s softened his stance on his fish-out-of-water colleague. But as the Agence Grateau luxury marketing team ventures to Italy this season, which is now streaming, his side eye shifts focus to a new co-worker. Over email, Arnold shared what it was like shooting outside their usual setting and the animated series he returns to over and over. — Yvonne Villarreal
The Grateau team spent time in Italy this season. Some filming took place in Rome and Venice. What’s a memory or experience that stands out from filming there? Did any place there become a go-to spot for you when you weren’t shooting?
Rome was incredible, both on and off screen. One moment that really stands out is when Ashley Park and her choreographer, Carlye Tamaren, taught us one of Ashley’s dance routines. Everyone did so well — and Bruno Gouery was absolutely hilarious. When we weren’t filming, one of our favorite meeting spots was the rooftop at the Minerva Hotel. It’s stunning. In Venice, we would all gather in Bruno Gouery’s room and play a pirate dice game that Lucien Laviscount introduced us to. The city itself felt like a dream.
The series revolves around Emily and her fish-out-of-water experience of building a new life in Paris. How would this series look if it were titled “Julien in Paris”? Five seasons in, what would a slice of his life look like if you could pitch it to Darren Star?
If the show were called “Julien in Paris,” it probably wouldn’t be very exciting — Julien is a Parisian. He has Paris on lock. I like to think he sees himself as the prince of the city. Now, Julien in New York City — opening his own marketing firm there — that’s a different story. I can already feel the drama.
Julien is very discerning and could spot the games Genevieve was playing. How do you think he handled her, and the position he was in, knowing this secret could damage Emily and Mindy’s friendship?
I think Julien handled it pretty well. It’s not a great position to be in. When one friend hurts another, the right thing to do is to encourage the person at fault to do the right thing. And when someone like Genevieve — played by the absolutely lovely Thalia Besson — tries to stir up trouble, Julien definitely knows how to deal with that in the best possible way.
With all the love triangles (and squares), who would you, Samuel, pick for Emily — Gabriel or Marcello? And for Mindy — Nicolas or Alfie?
I don’t think I should be picking men for those women. What I can say is that they should follow their hearts and embrace whatever comes with that. Honestly, we should all try to do the same.
What have you watched recently that you’re recommending to everyone you know?
I recently watched “Safe House” [Netflix], with Lucien Laviscount as a badass action hero. The casting is great, the ending really catches you off guard, and Lucien does his own stunts — which makes it even more impressive.
What’s your go-to comfort watch — the movie or TV show you always come back to?
“Rick and Morty” [Hulu]. It never gets old. It’s funny, packed with pop-culture references — which I love — and the voice acting is just incredible.
Actress Lily Collins, 36, plays the central character, Emily Cooper, in comedy drama series Emily In Paris, the fifth season of which drops on Netflix on Thursday
02:30, 17 Dec 2025Updated 02:31, 17 Dec 2025
Lily Collins is pictured at the premiere for Emily in Paris(Image: WireImage)
Lily Collins admitted she might “not have been on her game” during the filming for the fifth series of Emily in Paris.
The actress gave birth to her daughter Tove earlier this year ahead of the recording for the comedy drama programme. Lily, 36, had to alter her schedule ahead of preperation for Emily in Paris, in which she players central character Emily Cooper.
And, as a result, the star believes her performance may have suffered — although previews have been positive ahead of the new series. In a candid interview, the mum said: “I took my hands off perfectionism. You cannot focus on perfectionism when your focus is on all these other hats you’re wearing.
“I said to everyone this year, ‘I’m really good with memorisation, I’m really good with knowing my lines, but this year give me some grace. I’ve not slept, I’m very tired and I may not be on my game.’
“And you know what? Who was in the blooper reel more this year? Me. Who had more fun this year? Me, because I let go of perfectionism and I was so grateful.”
The fifth series drops on Netflix on Thursday, around 15 months after the fourth season aired on the platform. The programme, which also stars Philippine Leroy-Beaulieu and Ashley Park, has been widely praised.
Lily, daughter of singer Phil Collins, has balanced work and motherhood since welcoming Tove in January via surrogacy. She returned to work with little Tove when filming for Paris in Emily commenced in June.
Speaking to The Sun, Lily said: “When we started shooting this season my daughter was about three and a half months. How does she change my approach to filming? I mean, schedule!
“You have a different purpose and it’s really tough. I have a greater purpose now and I miss her so much. She visited the set but I’m still figuring it out in real time. It’s a struggle and I’m just so grateful to be able to do both.”
Emily in Paris has attracted a huge global audience that has continued to grow since it launched in 2020. The central character moves from Chicago to Paris for a temporary social media strategy job and becomes a fashionista.
Lily, from Guildford, Surrey, was cast in April 2019 after impressing in the miniseries of Les Misérables. She also was in crime drama, Extremely Wicked, Shockingly Evil and Vile, another Netflix hit, which starred Zac Efron.
Alongside the usual drama, Emily in Paris fans can also look forward to a host of new actors signing on for Emily’s Roman adventure. These include Bryan Greenberg, best known for his part in HBO’s How to Make It in America and more recent role in Suits LA. He plays Jake, an American living in Paris.
MODEL Emily Ratajkowski looks fab-yule-ous as she poses in a red dress for a festive event.
The 34-year-old wore the minidress, tights and heels at the event for hair brand Kérastase in New York on Thursday evening.
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Model Emily Ratajkowski posed in a festive red dress at an event for a hair brandCredit: GettyEmily was in attendance for Kérastase in New York, wearing a minidress, tights and heelsCredit: Getty
Emily finalized her divorce with the film producer, who faced a slew of sexual misconduct allegations, in July, after filing for divorce in September 2022.
