The film suggests the Mennonite community - which the Von Riesen family was a part of, and of the church in particular - deepened Yoli’s father’s depression, which no one knew he struggled with. However, for the story to unfold primarily through her perspective is also frustrating, especially since the writing isn’t interested in offering more than a vague reading of her and her family’s past. Yoli is the driving force and her emotions, riddled with anger, love, desperation, resentment, and a dose of sarcasm and dark humor, are messy and deeply complex. McGowan’s adaptation is deeply moving, emotionally driven, and often riveting to watch. The title of the film (and book) is taken from the poem “To a Friend” by Samuel Taylor Coleridge, in which the poet writes about his relationship with his only sister, to which he poured all his “puny sorrows.” It’s apt considering the story centers on two sisters whose snarky comments to each other, family history, and generally deep discussions are the beating heart of this uneven film. Related: TIFF Review: The Starling Lacks Emotional Substance Despite Strong Performances In the midst of all this is their mother, Lottie (Mare Winningham), a stoic woman who rarely lets her emotions past the wall she’s seemingly put up after Jake (Donal Logue), her husband and the women’s father, died by suicide years prior.

Yoli is angry and frustrated with Elf, a renowned pianist who is resigned to death despite her sister’s protests and unwillingness to let her go. She’s in the middle of a divorce from an ex-husband who is frustrated by her refusal to sign the papers when she is called back to her hometown following her sister Elfrieda’s (Sarah Gadon), “Elf” for short, suicide attempt. Yoli Von Riesen (Alison Pill) is a successful writer who is struggling to finish her next novel after the last one bombed.

All the puny sorrows