The Sisterhood of Night follows a group of girls who are claimed to be running a secret cult. Rejected member Emily (Kaya Hayward) shares her negative experiences with the cult for all to see online and becomes an instant hit.
Directed by Caryn Waechter, The Sisterhood of Night easily falls into the categories of mystery, drama and thriller. With concise cinematography and standard pace, the film’s narrative and underlying messages are undoubtedly what drive the film and leave you wanting to watch to the end.
I think everybody who watches The Sisterhood of Night leaves their viewing wanting to find their own sisterhood. Saying this, I don’t want to be gender specific. In spite of the film focusing heavily on female characters and girls, the underlying themes could be applicable to all, especially young adults and older.
Because The Sisterhood of Night is a film that reveals a truth by the end of its story, I don’t want to give too much away. What this film does well though, is that it knows how to critique without throwing the critique in your face. Instead, you finish the film and only then realize the emotional journey you’ve been taken on.
Georgie Henley (Mary Warren) will always be one of my favourite actresses. I’ve grown up admiring her work and loving that she was my equivalent doppelganger. Her raw performance as Mary revealed the struggles of living in a cyber world and brought an understanding to the theme of control and lack of control. I now want to watch the film and see the film from Mary’s perspective and not from the perspective that led me to believe particular truths. Mary’s own invention of the ‘vow of silence’ was certainly not what you thought it would be. This ‘vow of silence’ takes on a compelling and fascinating display of female empowerment that you’ll have to see for yourself when watching the film.
One of the few things that did frustrate me was the film’s supporting characters which were where most of the adult roles lied. Putting aside the acting and focusing on the characters, I merely felt as though the adult roles lay as plot devices and I wanted their opinions on the girls to be less objective and more subjective. Alas, I do understand that films have restrictive time slots and not every character can receive as many ‘layers’ as the leading characters.