**Rewritten Article:**

### *September Says* Review: A Sinister Journey into Sisterhood

*”If I lost a leg, would you sever yours too?”*
*”If I were abducted, would you assume my place?”*
*”If I perished, would you follow suit?”*

These disquieting inquiries are presented by September (Pascale Kann) to her younger sibling, July (Mia Tharia), in *September Says*, the unsettling directorial first effort of Ariane Labed. The movie examines the intricacies of sibling relationships, probing the extent of closeness that can be deemed *too* intimate.

Drawing inspiration from Daisy Johnson’s 2020 book *Sisters*, this psychological thriller infused with horror elements tracks the sisters as they traverse their teenage years, becoming ensnared in an increasingly perilous relationship. Moving beyond a traditional coming-of-age tale, *September Says* delves into ideas of identity, familial connections, and the challenges of growing up as a young brown girl amidst predominantly white surroundings.

I found myself breathless until the final credits appeared, entranced by the authentic performances of newcomers Tharia and Kann. The film left me contemplating the enduring consequences of sisterhood—and whether genuine escape from its influence is possible.

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### What Is *September Says* About?

July, only eleven months younger than September, is shy and introspective, often withdrawing into herself. In stark contrast, September is audacious and captivating, naturally drawing attention, whether at their mother Sheela’s (played by *Sex Education*’s Rakhee Thakrar) art exhibition or even severing the braid of a school bully in a show of power. Whether July desires it or not, she remains firmly in September’s orbit—until an undisclosed event compels the family to seek refuge in a relative’s remote vacation home in Ireland (as opposed to North Yorkshire in the novel).

Beyond the typical hurdles of adolescence—friendships, crushes, and self-exploration—the sisters also confront their mixed-race heritage. With an Indian mother and an absent father, they are imbued with a sense of otherness. July, in particular, becomes a target for mockery, her dark body hair ridiculed by classmates during a swimming lesson. Though the film does not directly emphasize their racial identity, it subtly shapes their fractured self-perception—September embodies confidence and authority, while July struggles with self-assurance and finding her space.

This shared feeling of alienation strengthens their bond, yet simultaneously obscures the boundary between love and control. July looks up to September, convinced she represents everything she aspires to be. Meanwhile, September relishes her role as a protector, stepping in where their emotionally distant mother falls short.

However, September’s assertiveness soon veers into a darker realm.

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### *September Says* Transforms a Childhood Game into a Psychological Horror

Isolated in the remote house, with their mother retreating into her room, the sisters fend for themselves—raiding the liquor cabinet, watching nature documentaries, and scavenging for meals. Devoid of internet distractions, they turn to old games.

This is where the eponymous *September Says*—a perverse adaptation of “Simon Says”—comes forth as a menacing entity. September revels in her dominance over July, dishing out increasingly unsettling orders. What begins as trivial dares quickly escalates into something dangerously serious: compelling July to consume an entire jar of mayonnaise, then pressing a knife to her own neck. If she refuses, she “loses a life.” September chuckles, dismissing her sister’s unease as mere frailty.

Initially, July yields. She consumes the mayonnaise. She bleeds. But a chance meeting with a local boy at the beach ignites something within her—a glimpse of autonomy, a life beyond September’s overshadowing presence. This moment of self-realization, hinted at earlier, marks a pivotal shift in their dynamics.

Yet, just as July begins to emerge from under September’s control, September tightens her grip even further.

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### A Disturbing Descent Into Psychological Horror

As September’s actions grow increasingly erratic and her demands more perilous, July’s fear of her sister intensifies. Their once-unbreakable connection starts to crack. Still, despite her waning comfort, July yearns for September’s validation, caught between loyalty and the thirst for independence.

September’s presence begins to take on a ghostly quality—she disappears from rooms only to reappear behind July in mirrors. The sisters appear to merge, their identities intertwining.

Hints of horror weave throughout the film, from their near-telepathic bond to an unsettling opening scene where Sheela dresses them as the Grady twins from *The Shining* for a photoshoot. The imagery of razors, knives, and blood lingers, while their communication shifts from spoken words to fleeting glances, touches, and even primal sounds. A particularly haunting moment occurs when July instinctively reacts to September’s sharp whistle—a Pavlovian response that