Jim Jarmusch, the iconic American independent filmmaker known for his deadpan humor and poetic minimalism in films like Stranger Than Paradise and Paterson, returns with Father Mother Brother Sister (2025), a tender, understated drama that marks one of his most personal works to date.

The film, Jarmusch’s first since The Dead Don’t Die in 2019, follows a fractured family reuniting in a small Ohio town after the death of their patriarch. Adam Driver stars as Jack, the estranged eldest son, a drifting musician returning home for the funeral. Tessa Thompson plays his sister Lena, a local teacher grappling with quiet regrets, while Greta Gerwig portrays their free-spirited but troubled younger sister Mia. Bill Murray, a frequent Jarmusch collaborator, appears as their uncle, bringing wry wisdom to the proceedings.

Jarmusch, who wrote and directed, draws from his own Midwestern roots to craft a story less about plot and more about moments — shared silences at the kitchen table, late-night drives through empty streets, and the weight of unspoken words. The narrative unfolds slowly, with long takes and natural light capturing the beauty in mundane grief. RZA’s atmospheric score blends ambient sounds with subtle jazz, enhancing the film’s meditative rhythm.

Critics have hailed Father Mother Brother Sister as “Jarmusch at his most intimate.” The New York Times called it “a quiet masterpiece of emotional precision,” praising Driver’s restrained intensity and Thompson’s luminous vulnerability. Variety noted Gerwig’s “heartbreaking lightness,” while The Guardian awarded five stars, describing it as “a film that whispers truths about family you feel in your bones.”

At its core, the film explores how loss exposes both fractures and hidden bonds. Jack’s return forces confrontations with past failures — a failed marriage, abandoned dreams — while the siblings navigate their mother’s (Marisa Tomei) fading presence. Jarmusch avoids melodrama, letting small gestures — a shared cigarette, a half-smile — carry the weight.

Premiering at Cannes 2025 to acclaim, the film has earned Oscar buzz for its ensemble and Jarmusch’s screenplay. With a modest budget and Jarmusch’s signature low-key style, it stands in contrast to blockbuster fare, offering a reminder that cinema’s power often lies in simplicity.

Father Mother Brother Sister is not a film that shouts — it murmurs, and in doing so, leaves a lasting echo. For fans of Jarmusch’s oeuvre or anyone seeking thoughtful drama, this is essential viewing — a gentle, profound meditation on what family means when words fail.

Now in select theaters and streaming on Criterion Channel, Jarmusch’s latest proves he remains one of America’s most vital voices.