Quick, Queer, and Strikingly Sincere

Read Time:4 Minute, 51 Second

MOVIE REVIEW
Sister!
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Genre: Comedy, Drama, Short
Year Released: 2025
Runtime: 13m
Director(s): John Onieal
Writer(s): Tessa Belle, Julia Wendt
Cast: Juliane Wendt, Tessa Belle, Asha Ward
Where to Watch: shown at the 2025 Tribeca Film Festival

RAVING REVIEW: Loud, quick-witted, and proudly chaotic, SISTER! lands like a punchline and lingers like a dare. It packs satire, unexpected vulnerability, and boisterous energy into 13 minutes that barely pause to breathe. This short-form storytelling goes full throttle, armed with a middle finger to convention and a heart that beats harder than it first lets on.

The tone is set from the jump: nothing will play out quietly. The setup is as absurd as it is relevant. James (Julia Wendt), a transfemme introvert with a wall of sarcasm guarding their solitude, is unexpectedly confronted by Tessa (Tessa Belle), a blonde hurricane of energy who barges in claiming a long-lost sibling bond. James isn’t just suspicious; they’re methodical. Rather than engage in heartfelt reunions, they plan to swipe Tessa’s DNA and settle the mystery. What unfolds is less about the science and more about the chaos that comes from unexpected connection, and the emotional minefields we walk when facing the idea of being seen by someone new.

What makes the story is the way it weaponizes style and structure to reflect its characters. The film is fast. But it’s not rushed so much as it is electric—built to reflect the explosive dynamic between its leads. The dialogue, co-written by Wendt and Belle, is packed with quips, sharp turns, and layered meaning. This isn’t just for laughs; the comedy is rooted in character, and every jab has weight. Their chemistry crackles with unspoken tension, creating a pacing that’s equal parts comedy sketch and emotional standoff.

Asha Ward's performance backs up the central duo, landing with comedic bite and emotional texture. Ward doesn’t just play a supporting role—they throw the kind of curveball that makes an already unpredictable story even more memorable. Underneath the comedy and chaos lies a thoughtful meditation on queer identity, survival, and chosen bonds. It would be easy for a film like this to lean entirely into shock or sarcasm, but what makes it resonate is how it uses those tools as a gateway into something more honest. The humor isn’t a mask; it’s a language. The bond between the two leads might be born of absurdity, but it lands with unexpected sincerity.

There’s material here that could have easily expanded into a longer runtime, moments where you want to sit longer with the characters or dig deeper into their emotions. But this isn’t a flaw so much as a side effect of ambition. The film aims high in a short window and hits its targets.

What works exceptionally well is how the story never loses its edge. A distinct tone runs through every line, visual, and gesture—a kind of punk energy that feels fresh in a world that often polishes its comedies until there’s nothing left to hold onto. SISTER! doesn’t sand off its sharp edges. Instead, it lets its messiness be part of the message. The narrative is about the chaos of self-reinvention, the instability of trust, and the unpredictability of queer connection—and the film's structure mimics that journey.

The direction from John Onieal ensures that the entire thing holds together despite its manic pace. He understands how to balance the absurd with the emotional and how to highlight the nuances in characters that could otherwise read as caricatures. The boldness of the storytelling choices—from the opening to the final frame—speaks to a filmmaker confident enough to let his collaborators shine.

Don’t mistake this film for something sentimental or safe. It’s messy on purpose, outrageous by design, and funny in a way that cuts through your defenses. Whether or not these characters are related is almost beside the point—the spark between them is undeniable, and it challenges every conventional definition of connection.

This is one of those rare shorts that feels like the tip of a much bigger world. There’s a sense that the story isn’t over when the credits roll, and honestly, you don’t want it to be. The film leaves you energized, amused, and somewhat off-balance—in the best possible way. It’s not perfection; it’s honest chaos. And that’s what makes it perfect.

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[photo courtesy of RUBBERTAPE]

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