Love in the most unlikely of places is the love I want to watch.
identity
A WORLD BEYOND THE WALLS
SISTER WIVES tells the tale of two women, Kaidence and Galilee, living in a strict, polygamous society, in Utah, who find themselves bound to one another, under the same roof, in the same marriage, as they begin developing 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.
At its core, Sister Wives is a story of female friendship, allyship, and exploration, both physical and psychological, as together they find the courage to dream in tandem, of a world beyond the walls.
Sister Wives is a hauntingly beautiful short film, written and directed by actress and award-winning director and screenwriter Louisa Connolly-Burnham, who also stars as Kaidence in the film.
Louisa has previously appeared in Vampire Academy, Call The Midwife, Wolfblood, Drifters and The Call Centre. Sister Wives marks Louisa’s fifth film.
The film started its festival run at two Oscar-qualifying festivals including HollyShorts & Deadcenter and the three BIFA-qualifying festivals including Brighton Rocks with a ‘Best Director’ win, Sunrise Film Festival with a ‘Best British Film’ nomination and Unrestricted View Film Festival in London where it received a ‘Best Actress’ nomination and ‘Best Costume’ win.
Sister Wives has also been acquired for UK streaming by Channel4 / Film4, beginning a year-long run on Channel4 streaming at the end of this year.
HOLD YOUR WICKED TONGUE
The story begins with Kaidence facing away from the camera washing the dishes, dressed in clothing of another era, with her impossibly long braided ponytail falling down her back.
Her husband Jerry, (Michael Fox – Downton Abbey) enters the front door of their old log cabin, looking solemn for a moment, before announcing that their family is to become three.
Kaidence seems momentarily confused by his words. Feeling betrayed she remarks, ‘We promised we would never do that.’ Jerry retorts that all his brothers have done it and that the time is now right.
Kaidence protests but her words are met with a fiery retort, “You forget your place. I am your Priesthood holder. Hold your wicked tongue,” he cries, before ordering her to prepare the second room.
That evening we see Kaidence on her bed, Jerry on top of her, thrusting himself upon her body, as her eyes remain wide open, lost in thought, perhaps dreaming of another life, far away from where she is now.
“As research for Sister Wives began, particularly into the community that inspires the film, I couldn’t believe the stories I was reading,” explains Louisa.
“There were turbulent tales of child marriage, domestic violence, sexual abuse, and underage pregnancies; it felt like “The Handmaid’s Tale”, but real, and happening now today in 2024.
“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 the love I want to watch.
“On first seeing footage and photographs of this community I had been researching, 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.
“It’s here in Sister Wives that I draw inspiration from M. Night Shyamalan’s The Village, and the audience should feel shocked to discover these people are in fact living in the 21st century.”
HEAVENLY FATHER HAS CALLED
As morning arrives, the film cuts to show us a spectacular image of the lonely-looking log cabin sitting next to a tranquil lake.
“I spent hours on Google searching through countless log cabins across the UK, and most of my favourites were in Scotland, ” Louisa tells us. “Unfortunately, with our cast and crew all based in England, taking everyone that far wasn’t feasible. Thankfully, just in time, I discovered the perfect cabin in Surrey.”
The setting is chilling, and the sombre-looking sky and dull colour palette reflect the sadness which seems to linger over Kaidence.
That same day, Jerry introduces Galilee, (Mia McKenna-Bruce – How To Have Sex) to her new home having returned from their wedding.
Galilee’s softly spoken and almost shy nature makes her a hypnotising presence as she politely makes the acquaintance of Kaidence who she refers to as sister.
Kaidence is forced to spend that night in the second room, sitting alone as Jerry consummates his marriage by taking the virginity of Galilee. It is this moment which will ultimately lead to Kaidence and Galilee forming a bond.
In the coming days, Jerry will announce to his ‘loves’ that the Heavenly Father has called on him to take part in a mission to Nevada for 4 weeks. This sets in motion events that will change the lives of Kaidence and Galilee forever.
RESTING MORM FACE
In Jerry’s absence, Kaidence and Galilee grow closer, despite prying eyes and the threat of ‘Big Brother,’ watching them.
They talk of days gone by and what life used to be like and it is here where there is a twist in the tale, as Galilee introduces technology into the story, as we realise we are indeed in the modern day, and not watching through the eyes of yesteryear.
Kaidence and Galilee begin to come of age and strip away their inhibitions and their clothes as they stand at the edge of the lake, holding hands, in their underwear, preparing to jump not just into the water, but a new life.
As they embrace a newfound feeling of freedom, we see the haunting image of three soulless and sinister women looking from a forest towards the lake with disgust and disapproval etched into their eerie faces.
“I love this moment where we see the three women,” Louisa tells us. “We jokingly called the look they’re giving ‘Resting Morm Face.’ They’re actually my best friends too, so that scene makes me smile for many reasons.”
A FILM FOR ANYONE WHO HAS HAD THEIR HEART BROKE IN TWO
As night falls, Kaidence and Galilee laugh and smile in a way which has been absent for much of their lives.
They read books that have been banned, talk of clothes that they used to wear that are now deemed sinful, and begin to fall deeper into each other’s arms and an embrace that neither ever wants to break free from.
Their love for one another becomes threatened and what we see is a story that will resonate with teens and adults alike, queer or straight, religious or not, and a film for anyone that has ever had their heart torn in two.
Sister Wives is captivating from the moment the story begins. The cinematography is stunning, as is the contrasting, electronic and seductive music that pulses throughout key moments during the film. The performances of Louisa, Mia and Michael are also outstanding and add to the genuine authenticity of an incredibly crafted film.
It was a pleasure for The Atlantic Dispatch to sit down with Birmingham-born Louisa Connolly-Burnham, as we discussed Sister Wives and her journey to becoming a writer and director.
SUBORDINATE TO THEIR HUSBANDS
Most women I know, myself included, are fascinated by documentaries and podcasts about cults, true crime, and the dangers women face—I believe this obsession stems from a sense of self-preservation.
When we experience heightened fear, we often find comfort in confronting it directly, frequently through storytelling as a way to explore the moral boundaries of our society.
The idea for Sister Wives came to me after watching an amazing documentary on Netflix called ‘Keep Sweet, Pray and Obey’ which focuses on a cult in Arizona called the FLDS, otherwise known as the Fundamentalist Church of Latter-Day Saints.
Members believe multiple wives are necessary for entrance to the highest heaven and women are required to be subordinate to their husbands.
I wanted to write a story that explores what it might be like to be queer and closeted while living in a community like this.
WE BASICALLY BECAME A CULT
There were so many highlights throughout this whole process—reuniting with the cast and crew I’ve worked with before was wonderful—I’m super loyal to the people I collaborate with, so getting back together with old friends and making new ones was fantastic.
I was blown away by the passion and talent that everyone brought to this project, it wasn’t just my baby, it was all of ours. We basically became a cult. We had matching woolly Sister Wives hats and everything.
The premiere at The Genesis Cinema was another standout moment, with over 550 people in the room, the energy was incredible, and the response was amazing—definitely one of the best nights of my life.
Our festival run has been equally thrilling; we’ve travelled all over the world with Sister Wives, shared the film with so many different audiences, and had so many memorable experiences along the way. I love this part of filmmaking.
Of course, there were challenges too—it was freezing cold during our January shoot—so cold that we had to scrap a scene where the girls were supposed to swim in the lake because it had literally frozen over.
Fundraising was also tough, especially since this project had a higher budget than anything I’d done before.
Raising the funds on my own was no easy feat, but dealing with the financial side of things is just part of the process and always worth the pain in the end.
FEMALE RAGE AND FEMALE JOY
My favourite moment in the film is a tough one to pick, and I don’t want to spoil anything, but the final conversation between Kaidence and Jeremiah really stands out for me.
It’s far more tender and heartbreaking than I ever imagined, and Michael Fox’s performance is absolutely world-class. Also, the finale, to me, feels like the perfect blend of female rage and female joy.
LIKE A SECOND HEARTBEAT VIBRATING THROUGH YOUR SKIN
This was my third film with DOP Angela Zoe Neil, and our trust and support for each other are second nature.
Before filming, we meticulously planned every detail—from the shot list to the mood board and colour palette.
We aimed to create a drab world for the girls, so their vibrant dresses would really stand out. Our goal was to make the world feel mundane while the girls felt full of life.
We shot on anamorphic lenses to give it a vintage aesthetic and used candlelight to enhance the atmosphere.
Most of the film was shot handheld, giving it a sense of breath and fluidity. We drew inspiration from films like Portrait of a Lady on Fire, Ammonite, and The Lodge.
Regarding the music, I had the pleasure of working with James New, an exceptional composer who comes from a background in pop and indie music rather than film.
His fresh, contemporary approach was exactly what I was looking for. While it’s common to approach a film like Sister Wives with a classical score, I wanted to embrace a more modern sound.
I’m a big fan of electronic soundtracks, like Drive, Lost in Translation and Love Lies Bleeding, with their deep bass and pulsating beats that resonate like a second heartbeat, vibrating through your skin.
NO ONE ELSE WOULD UNDERSTAND IT LIKE I DID.
I’ve been acting for about twenty years, which often means a lot of waiting, disappointment, and creative dry spells.
A few years ago, when work was slow, I came up with the idea for my first film, The Call Centre. I was certain I wanted to act in it, but then I started thinking, why not try directing it too?
I had a clear vision of how I wanted it to look and feel, and I figured no one else would understand it like I did. So, I took a chance.
I got some advice from directors I’d worked with before and reached out to Emily Everdee, a producer who’s now my long-term creative partner and dear friend.
She believed in the project as much as I did, so we launched a Kickstarter campaign, raised the funds, and made the film.
Everything happened really quickly. The festival run was sadly cut short by Covid, but it found a great online home on Omeleto.
From there, people started noticing and reaching out to me about directing other projects, and it all just took off from there.
LOVE, ACCEPTANCE AND DEFIANCE
The queer and forbidden love angles in Sister Wives are at the heart of the story because they dive into identity, desire, and breaking societal norms.
I’m super interested in exploring relationships that push against traditional boundaries and challenge the status quo.
I’m definitely into these kinds of themes and plan to keep exploring them in my future work as I think they can offer a lot of depth for storytelling and character development, as they touch on universal feelings of love, acceptance, and defiance.
I also enjoy amalgamating psychological drama, social commentary and speculative fiction as I love blending genres and trying out different narrative styles to create something new and thought-provoking.
I’m also very excited to say we’re in the process of developing Sister Wives into a feature film, with plans to start shooting next summer – keep your eyes peeled!
All our thanks to the brilliant Louisa Connolly-Burnham
For more information on Louisa, please click here