sister

Sophy Romvari’s luminous debut feature “Blue Heron” is a loving and studious act of remembrance. Her protagonist and surrogate, Sasha (Amy Zimmer), attempts to understand her family’s past through a reverent process of recreation. While she finds that not everything can be understood, there is beauty and solace in the journey itself — and maybe a kind of catharsis.

“Blue Heron” is an autobiographical project, but it’s more apt to call it a memoir. Sasha admits she doesn’t remember much of her childhood and doesn’t even trust the fragments. But she will try anyway. As Sasha zooms in on her iPhone, standing at the bluff overlooking her hometown, Romvari rolls up the back of a moving truck to deliver a lush slice of ’90s childhood nostalgia, picking up the memory as her Hungarian immigrant family — two parents, three brothers and one sister — arrive at their new home on Canada’s Vancouver Island.

Father (Ádám Tompa) settles into work on the home computer; Mother (Iringó Réti) attempts to amuse the kids with trips to the beach and nature preserves. Snippets of summer filter through the eyes and ears of 8-year-old Sasha (Eylul Guven) and in the photos snapped by their parents.

But a disquieting presence looms: Jeremy (Edik Beddoes), the eldest son. Blond, light-featured and tall, he is visually distinct from the three other children and his silent rebellion permeates the atmosphere.

His misbehavior is minor — irritating but untenable when stacked together — like bouncing a ball against a wall, disappearing for fun or climbing on the roof. He mostly just seems like a moody, unsatisfied teen, drawing elaborate maps and sometimes playing with his siblings sweetly. It all seems like harmless mischief until it escalates.

The movie’s title refers to a key chain from a gift shop that Jeremy, who almost never speaks, presents to his younger sister. Like him, the film is quiet and meditative, bathed in the cool blues and verdant greens of the setting, captured in Maya Bankovic’s saturated cinematography. We are transported to a place of natural beauty and a period of seemingly unlimited time. But Jeremy-related tension simmers beneath the domestic surface, just as it does in Chantal Akerman’s 1975 landmark “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,” referenced in a shot of a mother and daughter peeling potatoes.

“Blue Heron,” though, is not just going to simply be a throwback family drama about a troubled boy and his younger sister. The film suddenly zooms out, linearly, to two decades later. Zimmer’s older version of Sasha is grappling with her brother’s void and she does so with her mind, her work, her actions. She conducts a focus group of social workers for a documentary in order to try to understand Jeremy’s behavior and the treatment he got at the time. She scrubs through video and photos and interviews a case worker. She escapes into old movies.

In Romvari’s award-winning 2020 short “Still Processing,” a companion piece to “Blue Heron,” she processes the loss of two brothers through photography, sifting through boxes of old photos and film negatives shot by her father, who trained as a cinematographer in Hungary. It seems natural for Romvari to access the emotional through artistic practice, to give her — and Sasha — something to do with their hands. The tactility of the photographs in “Still Processing” provide an access point to the past. Romvari weeps as she spreads them out on a table, saying “hi” softly to her brothers. But there’s a remove in the rigorous focus on the snapshots that perhaps also protects her from the full crushing weight of these emotions.

But in a film like “Blue Heron,” anything is possible, including time travel, and for Romvari, it’s the channel that she offers Sasha to achieve the closure that she needs: a visit to a time she doesn’t really remember, even as she’s building an archive of materials to bolster herself.

If young Sasha watches (and Guven is absolutely terrific at watching), the older Sasha speaks. Zimmer, a New York City comedian, is tasked with a heavy, grief-laden dramatic role, and she’s utterly convincing, entrancing in her stillness. But she also has a way with words, a clarity that rings with a rare kind of honest empathy, especially in a letter that Sasha reads to her parents.

That letter is what “Blue Heron” represents for its filmmaker — an attempt to re-create the past, to bring it back to life. Even if imperfect, the value is in the effort, in the ongoing practice of remembering, as an act of devotion to family and self.

Fans of The Other Bennet Sister looking for their next period drama fix should watch the BBC’s gripping sequel to Pride and Prejudice available on iPlayer

The Other Bennet Sister has made a significant impression on period drama fans but as they complete the first and only season, they’re desperately searching for another Jane Austen tale.

Within the same universe Austen crafted, they can opt to watch Death Comes to Pemberley, a narrative that begins exactly where Pride and Prejudice concluded.

Much like the 2026 series, The Other Bennet Sister, this 2013 standalone series is also a follow-on from Jane Austen’s Pride and Prejudice, penned by a different author.

It’s adapted from P.D. James’s 2011 novel, which employs the same characters and style of the original 1813 work.

Over three episodes, it pursues a murder mystery angle, featuring the characters that Austen devotees recognise and adore but in a somewhat different setting.

The Guardian said its production was “respectful” of Austen’s iconic work while managing to “stand out” and be its own “very different” entity.

Though it also shares similarities with the Pride and Prejudice adaptation, as Chatsworth House in Derbyshire served as the exterior location for Pemberley. This was the identical setting used for the estate in the 2005 film.

A viewer headed to IMDB to post their assessment of Death Comes to Pemberley, stating: “If you are like me and enjoy your Pride and Prejudice and a good murder plot, then you would love this series!”

They continued: “Elisabeth in particular is just like I would have imagined; she is the same spirited, outspoken person we know and love, while Darcy is more brooding, quiet and responsible (while I may have chosen other actors in terms of appearance, I think they portray the characters very well as reactions).”

A PopMatters critic also weighed in, writing: “Death Comes to Pemberley, a sequel to Jane Austen’s Pride and Prejudice by P.D. James, is a worthy addition to Austen’s original, and the BBC adaptation makes that case wonderfully.”

Set in 1803, the drama kicks off six years after the wedding of Mr Darcy and Elizabeth Bennet, when a mysterious disappearance unsettles the entire community. Wickham and Denny quarrel before departing in a horse and carriage, and shortly afterwards, two gunshots ring out.

Upon being informed of the incident and the two men’s disappearance, Darcy dispatches a search party. They find Wickham frantically clutching Denny’s lifeless body, setting in motion the tale of how this devastating death came about.

Naturally, venturing into Austen’s world carries considerable weight, as the cherished author’s work is regarded as sacred by legions of devoted fans.

As a result, the series has faced its fair share of criticism over its depiction of certain Austen characters which have since been reimagined by other writers.

One critical IMDB reviewer wrote: “When you use well-known and loved characters from something as famous as Pride and Prejudice, they should at least stay faithful to their original characters. Which it does, mostly, but the portrayal of Elizabeth Bennett was just really off.”

Anna Maxwell Martin takes on the role of Elizabeth, alongside Matthew Rhys as Fitzwilliam Darcy, Jenna Coleman as Lydia Wickham and Matthew Goode as George Wickham.

For those seeking their next Austen-inspired drama, this compact three-episode series makes for an ideal binge-watch; Death Comes to Pemberley is currently available to stream on BBC iPlayer.

Call it instinct. Call it mentality. Call it a pressure gene.

Whatever it is, Mateo Fuerbringer has it.

“I was born with it,” he says.

When the pressure is on and Mira Costa High’s volleyball team needs someone to step forward and deliver, Fuerbringer doesn’t need to raise his hand or ask for permission.

He just delivers.

“I’m able to be good under pressure in tough moments.”

Maybe it has something to do with being a volleyball player since he could walk, though a basketball was put in his crib. He quickly switched sports favorites.

His mom, Joy, played at Long Beach State and has her own club program. His dad, Matt, played at Stanford and is head coach for the 2028 Olympic Games men’s beach volleyball team. His sister, Charlie, plays at Wisconsin.

“My parents run a volleyball club, so I always came with them to work,” Fuerbringer said. “I’d always be around volleyball and got into it.”

He has grown to 6 feet 5 as a 17-year-old junior and is committed to UCLA, which is No. 1 in the nation with a 21-1 record.

Mateo Fuerbringer (8) of Mira Costa, a UCLA commit, delivered 37 kills in a five-set win over Loyola.

(Steve Galluzzo / For The Times)

Mira Costa is ranked No. 1 in Southern California, and stopping Fuerbringer from rising up and coming through with a kill is always the challenge for opponents. He’s certainly not perfect, but his power and knowledge of the sport puts him on a path for future success at each level he competes.

“I really love playing,” he said. “I really love the sport.”

That kind of passion and commitment combined with talent is reflected during matches. When he smiles, you can see his joy and satisfaction after he or a teammate comes through.

Loyola coach Mike Boehle has been watching Fuerbringer for years.

“It was in his blood since he was born,” Boehle said. “To watch him as a 12-year-old you could see he was special. He was playing up. He’s probably the best outside hitter in his class. The thing I appreciate about him is he’s pretty even keel. It’s not cockiness. He just plays the game. Nothing worries him. Playing against us, he got better as the match went on. He didn’t say a lot but spoke volumes with his play.”

Boehle said he’s looking forward to seeing Fuerbringer play alongside former Loyola star Sean Kelly at UCLA.

“It could be one of the best duos in a long time,” he said.

Mateo Fuerbringer of Mira Costa High tries to deliver a kill against Loyola. He had 37 for the match.

(Steve Galluzzo / For The Times)

He lives walking distance from the sand in Hermosa Beach, which means he’ll be receiving even more lessons when top beach players are training under his father this summer. He’ll be hanging out just like when he was young.

He’s just getting started. He has a jump serve that can be tough to handle. And he’s always looking to improve.

“I’ve been getting in the weight room to get stronger and increase my vertical,” he said.

There used to be two-on-two family volleyball matches, mom and dad vs. Mateo and his sister. Or card games, board games, pickleball games.

“It’s pretty feisty in the family,” Matt said.

So where do things go from here?

“One of Mateo’s big things is he wants to play with friends,” his father said. “He wants to play at the highest level with people he knows and likes.”