The family, that tiny and yet inevitable core of humanity, is the basis of numerous compelling films. What makes these movies captivating is not only the high level of identification – in the end, every one of us has grown up under the influence of familial relations – but also the diverse tragic fates that can lead to profound transformations in the structure of these relations. Families are full of conflicting dualities. The relationships between their members are strong and sensitive at the same time; the generational differences can be both straining and motivating. Siblings are the perfect frenemies and parents can go from ‘the best’ to ‘never being right’ in a matter of seconds.   

Both the US film "The Glass Castle” and the pan-European production "Euphoria”, which are shown these days at the Zurich Film Festival, want to present stories about the dualities of family ties. In "The Glass Castle”, based on the bestselling memoir by Jeannette Walls, a family of six leads a seemingly wild life, free of rules and laws. As soon as a law is broken, often because the father has his own opinions about public conduct, the parents dislocate the whole family. The four children are raised with the spirit of adventure and at the same time with the feeling of uncertainty if they will find anything to eat or if the next lodging will have running water and electricity. The story oscillates between the charismatic, alcoholic father, played by Woody Harrelson, and the responsible second-born, played by Ella Anderson and later in life by Brie Larson. It is through Jeanette’s eyes that we experience the ups and downs of the family. The film itself, the visual representation of this gripping story, works through dualities as it jumps from Jeanette’s present-day life in the 1980s as an adult looking for a stable life with her fiancé and her job at a New York magazine and her memories in sepia with her chaotic parents and the precarious situation of the children.  

In "Euphoria” we do not see the family memories; we just hear about them. The protagonists of the film are two sisters, Emilie and Ines, played by Eva Green and Alicia Vikander respectively. The story is set in modern-day Europe, in a world where sisters who used to be close, have not heard from each other in three years. Emilie has tried to reach her sister, who is a busy artist, but Ines has been reluctant to see her until the day she decides to accept Emilie’s proposal of a short vacation in a very beautiful place. The tension between them is palpable and the situation becomes even harder to endure when Emilie reveals that she is terminally ill. What would you do if you were faced with your own imminent death? Emilie has chosen an unusual path and she wants Ines to accompany her. Obviously, the task proves to be difficult, not only because of Emilie’s prospect, but also due to the parental losses that the two have had to experience, leaving them both in a fragile state. In a secluded place in the middle of some European jungle, they try to deal with their issues as individuals and sisters. 

As different as these two films are in terms of plot and visual representation, they both eventually lead to the conclusion that the roots of their respective families run much deeper than the protagonists had come to believe. Even when a sister or a daughter attempts to distance herself from its magnetism, it becomes clear that the lack of the family does not diminish its influence on their well-being. This realization is a tad simplistic, considering the complex stories and the otherwise very moving, emotionally dense scenes. Nevertheless, both films are a tour de force, carried by powerful acting performances.