Synopsis
Sister Wives is a multi-layered love story that tells the tale of young women living in a strict, fundamentalist, polygamous society in 2003 Utah, USA. Kaidence and Galilee find themselves bound to one another, under the same roof, in the same marriage, as they develop scary, new, exciting feelings for each other. In a harsh, regressive, watchful community where being queer is considered a cardinal sin, they begin having thoughts of leaving the only life they have ever known behind. Sister Wives will offer a vital perspective to the canon of coming-out films; at its core, it is a story of female friendship, of allyship, a story of exploration, both physical and psychological, as together they find the courage to dream in tandem, of a world beyond the walls.
Director Biography – Louisa Connolly-Burnham
Louisa Connolly-Burnham is an award-winning director & screenwriter from Birmingham. She founded the production company THIMBLE FILMS in 2019 & she is a member of the female filmmaking collective CINESISTERS. In January 2024 Louisa wrapped principle photography on SISTER WIVES the short which she wrote, directed, produced & starred in alongside BAFTA-winner Mia McKenna-Bruce (How To Have Sex).
The film recently begun its festival run at Oscar-qualifying festivals: HollyShorts & Deadcenter & BAFTA-qualifying festivals: The Iris Prize with a “Best British Film” nom + Bolton Film Festival, BIFA-qualifying festivals: Brighton Rocks with a ‘Best Director’ win, Sunrise Film Festival with a ‘Best British Film’ nom & Unrestricted View Film Festival in London where it received a ‘Best Actress’ nom & ‘Best Costume’ win.
The short script for SISTER WIVES won the highly-acclaimed First Flights Film Fund in association with Goldfinch & Kodak whose previous winner AN IRISH GOODBYE won the Academy Award in 2023. The script was also a semi- finalist at FLICKERS: Rhode Island International Film Festival & also won the Sunday Shorts Script Competition.
Her directorial debut THE CALL CENTRE, which she also wrote, had a successful festival run, including the Oscar- qualifying Foyle Film Festival with a nom for ‘Best International Film’, Aesthetica Film Festival, Underwire Film Festival with a “Best Producer” nom, whilst also winning the audience awards at ÉCU Film Festival & Sunday Shorts Film Festival.
Louisa’s second film THE TRACK followed suit, with a successful run at the Oscar-qualifying Durban International Film Festival, BAFTA-qualifying festivals: British Urban Film Festival & Carmarthen Film Festival and a best director award at the 2022 World Indie Film Awards. It also screened at BIFA-qualifying Manchester Film Festival, London Independent Film Festival & Manchester/London Lift- Off Film Festival.
Her third short film THE CEILING, which discusses arousal non-concordance & consent, recently begun it’s festival run, starting at the BIFA-qualifying Exit 6 Film Festival. Her fourth short film FLEETING set in the Irish ‘Repeal The Eighth’ referendum in 2018 has just begun it’s festival run starting at the IFTA-qualifying Catalyst Film Festival.
As research for Sister Wives began, particularly into the community that inspires the film, I couldn’t believe the stories I was reading. Turbulent tales of child marriage, domestic violence, sexual abuse, underage pregnancies; it felt like “The Handmaids Tale”, but real, happening now today in 2023. However, I also read beautiful accounts of forbidden love, brave escapes, families reunited and long estranged friendships flourishing once more, and to me, love in the most unlikely of places, is love I want to watch.
On first seeing footage and photographs of this community, I couldn’t believe it was modern-day, it looked Victorian – the women in long pastel-coloured prairie dresses, every inch of skin covered from wrist to ankle, their hair, never cut, impossibly long, woven into waist-length braids. Thematically, here I will draw inspiration from M. Night Shyamalan’s “The Village”, the audience should feel shocked to discover these people are in fact living in the 21st century.
The colour palette will be dulled, reflecting the mundanity of their lives, except the girls dresses, these will be vibrant and accentuated, drawing inspiration from the infamous pop of the red dress in “Schindler’s List”. The music will be unexpectedly contrasting, electronic and seductive, pulsing through the bodies of our protagonists and audience, beating like a second heart in your chest, think “Drive”, think “Lost In Translation” – the condemned music Kaidence and Galilee would listen to if only they could.
We will witness their isolation, their confines, feeling it in the colourless, decor-less homes, the grandiose, clinical white churches, the vast lakes and forests where no one can hear you scream, the rolling hills with nothing for miles and the cold steel metal gates that keep them.
Sister Wives will offer a vital perspective to the canon of coming-out films; at its core, it is a story of female friendship, of allyship, a story of exploration, both physical and psychological, as together they find the courage to dream in tandem, of a world beyond the walls.
Sister Wives will offer a fresh take on the coming-of-age genre, one that resonates with teens and adults alike, queer or straight, religious or not, a film for anyone that has ever had their heart torn in two.
7.1
Cast
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Countries: United Kingdom