Daughters (2024)

Abele finds the documentary touching and achingly beautiful, making a heartfelt case for second chances. He praises the filmmakers’ emotional honesty and their willingness to show both hope and uncertainty around the father-daughter dance.

The critic calls the documentary an emotionally shattering, deeply empathetic work. They single out its portrait of the damage incarceration does to family intimacy and childhood innocence.

Ebiri praises Daughters as an admirable, emotionally powerful documentary elevated by sensitive, artful filmmaking. He singles out its focus on the girls’ and fathers’ faces and the devastating perspective on how time changes their relationships.

Kennedy finds the documentary quietly consequential and moving in its account of incarceration’s effects on families. She praises its compassionate attention to the girls and the intimate, lyrical filmmaking.

Ehrlich praises the documentary as deeply moving while valuing its refusal to settle for easy sentiment. He singles out its final chapter for showing how the dance’s brief reunion meets the difficult realities that follow.

Simon finds the documentary moving, compassionate, and emotionally resonant, while noting a missed opportunity to address a co-director’s connection to the program. He especially praises its artful filmmaking, including evocative cinematography and editing that give the girls’ inner lives room to emerge.

The review finds the documentary quietly devastating and ultimately hopeful, while stressing that its program is no cure-all. It praises the film’s nuanced follow-ups, which avoid an easy sentimental ending and show how relationships can change over time.

Clarke finds the documentary tender, painful and intimate, showing the human cost of mass incarceration through fathers and daughters. She particularly praises its close, emotionally affecting focus on four girls in the months before the prison dance.

The review presents the documentary as heartbreaking and moving. It singles out its exploration of the complex relationship between incarcerated fathers and their daughters.

Fienberg finds the documentary emotionally potent and likely to move viewers, though its structure and aesthetic choices blunt its advocacy. He singles out the father-daughter dance as devastatingly powerful, while criticizing the anticlimactic final stretch.

The available standfirst presents the film as an effort to rebuild fractured father-daughter bonds through a prison dance. The review’s fuller verdict and any specific praise or criticism are unavailable behind the paywall.

The critic calls the documentary deeply moving and praises its compassionate focus on fathers and daughters. They single out the decision to omit why the fathers are incarcerated as a choice that helps humanise them.

Keogan gives the documentary a tender, moving verdict, praising its nuanced portrayal of the strain incarceration places on families. She also singles out its artful camerawork, lighting and framing, especially during the dance.

The review finds the documentary moving and socially insightful, emphasizing the power of moments of joy amid hardship. It praises the girls’ candid reflections and the film’s focus on their experiences.

The page could not be accessed, so the critic’s verdict and any singled-out praise or complaint are unavailable. The URL identifies a review of the 2024 film, but provides no review text.

Kermode finds the documentary important and moving, though its celebration of the dance leaves troubling ethical questions unresolved. She singles out Aubrey’s charisma and her story as the film’s emotional core.