My Mother’s Wedding Review: An Enjoyable but Predictable Directorial Debut from Kristin Scott Thomas

      Note: This review was initially published as part of our 2023 TIFF coverage. My Mother’s Wedding (previously titled North Star) will be released in theaters on August 8.

      The saying goes, “Write what you know,” and Kristin Scott Thomas applies this to her directorial debut, My Mother’s Wedding. Co-written with John Micklethwait, the film tells the story of three sisters returning home to prepare their mother for her third wedding. Her previous two husbands? Best friends who both died while serving in the Navy. None of the sisters—Victoria (Sienna Miller), Katherine (Scarlett Johansson), or Georgina (Emily Beecham)—have truly moved on.

      This parallels Thomas’s own life experience, as her biological father passed away in a flying accident just a few years before her stepfather met a similar fate. Consequently, it’s no surprise that her fictional representation emphasizes one daughter over the others—though it’s not the expected choice. While Victoria is a renowned actress, it’s Katherine who takes center stage. As a Navy captain following in her fathers' footsteps, she struggles with the idea of having a third father figure. It’s not that Jeff (James Fleet) is a bad man, but Katherine cannot shake the feeling that his presence negates the memory of her lost fathers.

      We witness this struggle through her memories, illustrated with touching black-and-white animation, depicting noble men departing for battle. It’s evident in her interactions with her sisters and in her strained relationship with her son Marcus—likely because she believes keeping him at a distance will shield him from the anguish she experienced, even if this estrangement leads to significant harm. Katherine avoids conflict and envisions the worst. She has overlooked her mother’s (Thomas’ Diana) insistence on happiness.

      Each sister copes differently with their shared loss. Victoria engages in casual affairs and allows wealthy older men to win her affection. Georgina permits her husband to have flings in hopes of providing her children with the stability she lacked. With Victoria’s rebellious son also in the mix, these children are left to navigate their mothers' struggles on their own. You might wonder if these sisters had an easier time preserving their fathers' heroic images, while their children only see their imperfections. Only Diana knows the reality, possessing the perspective to understand that sincere love outweighs everything else.

      However, Thomas constructs her film around this truth. As the sisters’ lives become increasingly chaotic on their mother’s wedding day, the tension escalates. They’re not inherently bad people; they simply can’t move past their own limitations created from childhood perceptions. Only Diana can clarify things for them—and she certainly does. Her poignant monologue at the graves of her late husbands reminds her daughters who the true hero is and that life continues despite sadness.

      Does everything that unfolds before this moment sustain a 90-minute film? Judging by current consensus, the answer could be a definitive "No." Personally, I didn’t find the experience entirely negative. While the overall structure may feel unremarkable leading up to the climax, the performances and familial humor are mostly effective. I could do without the manipulative choice of naming Freida Pinto’s character Jack or the peculiar decision to shame another character through kink-shaming rather than addressing the adultery itself, but these issues don’t significantly impact the narrative.

      This brings us to the fundamental issue: very little else holds relevance. The supporting characters surrounding the main trio serve to provoke and surprise. They exist to further emphasize the sisters’ flaws while also presenting a reflective opportunity for them to escape the cycle consuming their lives. The rapid turnaround in typical rom-com style during the epilogue feels rushed and convenient, undermining the emotional weight Thomas conveys in her moment of tough love.

      Although there are many redeeming aspects to the film (my main concern being the choice to cast the lead as the only non-English actor, directing focus on her struggling accent), it doesn’t fully coalesce into something more than a superficial representation of what was likely a deeply cathartic experience for Thomas. Despite any shortcomings in the writing, the direction and tone are commendable. Sometimes personal narratives like this don’t seamlessly transition into formulaic mainstream storytelling. The craftsmanship and intention simply fail to propel it over the finish line.

      My Mother’s Wedding made its debut at the 2023 Toronto International Film Festival.