September Says (2025)

The critic finds the film uncanny and tender as an assured directorial debut with magnetic leads and strange surreal elements grounded in British and Irish iconography, but notes that a third-act twist slightly undermines its sombreness.

The film is an elegantly unmoored tale of two sisters in a tense examination of codependency and isolation. It shares a kinship with the darkly absurdist works of Labed's frequent collaborators while offering a tender perspective on adolescent escapism and painful revelations.

The critic calls it an arresting directorial debut that captures the fragility of adolescence with preciseness and intimacy through strong performances, establishing a peculiar tone as it shifts from character study to something more mysterious and haunting.

The critic praises Labed’s inventive debut for understanding the creepiness of sisters' dangerously close bond, highlighting the skilfully choreographed physical performances of the leads and the atmospheric shift to a claustrophobic Irish setting that heightens domestic terror.

The critic describes Ariane Labed's debut as an atmospheric but patchy portrait of codependent sisters. It features promising bursts of brilliance amid its flaws.

The critic finds Labed’s directorial debut an emotionally distant modern gothic adaptation of Daisy Johnson’s novel Sisters about too-close teenage sisters. It stumbles on familiar ground with a predictable plot twist despite stylish direction.

The adaptation of Daisy Johnson’s novel Sisters is transposed to an Irish setting with alienating results and a preposterous twist. Labed’s attempt to ‘weird up’ the drama fails to succeed.

The critic notes flashes of truly original accomplishment in Labed's directing debut but finds the central sisterly dynamic ultimately predictable and underwhelming, describing the story's resolution as sad but familiar rather than strange.