Sister Aimee

What makes Sister Aimee work is a number of things, not the least of which is Hollyman’s performance as the titular Aimee. Substantial and grounded, her presence anchors the films narrative with a powerful tow. Paz is also fantastic as Rey. Weathered, yet vulnerable, her portrayal skips from comedic to dramatic in the blink of an eye as needed, and she is easily the best at capturing the overall tone of the film here. Then there are the supporting players, all of which are extraordinary as well with particular props going to Mosley as the bumbling Kenny, who wouldn’t spot a story if it bit him on the backside. Too, Eddy’s Hazel is absolutely hilarious. Her scenes in the interrogation room are priceless as she keeps trying to lie to the police with an evolving narrative.

“Substantial and grounded, her presence anchors the films narrative with a powerful tow…”

Production-wise the movie is kept light and colorful and amped up more so in particular moments of inspiration as it were. DP Carlos Valdes-Lora’s composition is clean, allowing the audience to soak in the background while focusing on singular bits of action. Another note is the razor-sharp editing by Katie Ennis that punctuates the punchlines in the very best of ways.

I think that it is safe to say that Sister Aimee could easily find an audience similar to that of Little Miss Sunshine, Nurse Betty, or Juno. Samantha Buck, Marie Schlingmann bring a light touch and a wonderful comedic tone to a story of one hell of a woman. This is a lighthearted comedy about resourceful females far ahead of their time. It’s a frothy, beguiling, and utterly charming movie that celebrates the ingenious, albeit shady Sister Aimee McPherson in the most entertaining of ways.

Sister Aimee (2019) Written and directed by Samantha Buck, Marie Schlingmann. Starring Anna Margaret Hollyman, Andrea Suarez Paz, Julie White, Michael Mosley. Sister Aimee screened at the 2019 Sundance Film Festival and the 2019 SXSW Film Festival.

7 out of 10 stars