Based on a report by The Washington Post, Four days turns Glenn Close into the mother of a junkie, Mila Kunis, faced with her addiction and her family during the four days of the title, which are those of the endless wait for the start of a new detoxification treatment. Rodrigo García focuses in his new film on a mother-child relationship marked by distrust, pain and frustration towards a sick daughter, addicted to heroin in her vein, toothless and recidivist after countless treatments and, worst of all, after getting hooked, as thousands of young Americans, by prescription. One more victim of the opioid epidemic caused for almost two decades by criminal pharmaceutical companies. In this terrible context, a film that focuses on the family therapy between Close and Kunis moves.
If in the recent Hillbilly, a country elegy, Ron Howard’s film that has earned Close an Oscar nomination, the veteran actress was somewhat contrived in her role as a grandmother of America’s deepest and Trumpist, on Four days manages to be convincing, at times moving, in the skin of a common character that borders on tragedy. Close takes over her years, her body and a look capable of transmitting both love and fatigue and despair. It makes credible a mother who no longer believes anything faced with the survival of a daughter capable of awakening her best and worst instincts. The film looks good, it has sequences and moments that, although they exude too many hours of psychotherapy, work, such as the sad breakfast with the eldest daughter, the massages of the mother expressing her love in her own way or even the final metaphor of the table puzzle . But the ensemble lacks some depth, and in some moments also verisimilitude, in its approach to addiction and the character of the daughter. A long-distance junkie whose unfathomable struggle too often resembles that of a tabletop heroine.