NORA and POLLY are sisters, artists, and lifelong rivals.
NORA (27), the youngest and favourite, is also the prettiest, more charming and successful of the two. She’s a visual artist (or sculptor? photographer?) with commercial appeal, although her work perhaps lacks the depth she skillfully projects. She’s recently booked a possibly career-altering studio visit and interview with curators from Art Basel. This could be her big break.
POLLY (28), the eldest, is a stop-motion artist whose work life isn’t nearly as thriving as her sister’s. Aside from a never-ending animated passion project, she hasn’t booked a lot of gigs recently - and not for a lack of trying. There’s just something about her desperate attempt to seem not desperate that pushes producers away. She’s growing tired of her mother’s constant comparison to Nora and longs for a look of approval and recognition from someone - anyone!
Despite the tensions between the two, Polly and Nora (reluctantly) share a studio space
- which Polly has also temporarily moved into.
- which Polly has also temporarily moved into.
ACT I
After another awkward and ill-fated Zoom meeting with a dull producer, POLLY browses through her countless rejection emails: we’re so sorry / although we loved / this year’s submissions have been incredible / perhaps next time / we encourage you to apply again. Around her, the sprawling miniature world she meticulously but perhaps pointlessly built for her stop-motion film.
NORA, MOTHER (66) and a couple STRONG ARMS soon show up in grand style to install Nora’s new freshly framed series of paintings for her upcoming studio visit with curators from Art Basel. Mother’s favouritism becomes clear when she wrongfully accuses Polly of milking her credit card and shames her for living in “her sister’s studio”. Nora defends Polly at first, before asking her crew to put away her miniatures and personal effects. Polly resists but mother reminds her that this is “your sister’s big day”. Helpless, Polly watches her work literally replaced by Nora’s oversized frames, her tiny universe whisked away, out of sight.
After a quick stab at Polly’s unkempt look, Mother and the movers leave. Polly wonders if perhaps she should have become an accountant like that woman in the corporate office across the street, whether it would have made her - and Mother - happier than a life of chasing a barren dream. Nora is visibly nervous about her upcoming interview, shoving papers in drawers, annoyed by the constant tinging of her phone. Ignoring Polly’s existential interrogations, she asks her about her earlier meeting. Polly lies, insisting her project is actually attracting a lot of attention. It is clear the sisters don’t have a trusting, honest relationship, but one based in envy and competition. Picking up a vague phone call, Nora exits, asking Polly to entertain the curators if they show up before her return.
Alone, surrounded by her sister’s overwhelming art, Polly picks up a magazine article (or is it a Zine? a YouTube interview?) about Nora and her recent series of paintings. She sneers at the self-indulgent wording: “visionary”, “urgent”, “dialectical”, “speculative futurity”, “meta-critical”. Studying Nora’s arty headshot featured in the spread, she mimics and mocks her pose in the mirror; imitates her smile; puts her hair up; even going so far as to putting on her cardigan. With a bit of effort, she could very much look like her exemplary sister. Soon, a KNOCK at the door.
Caught off guard, Polly hesitantly greets the curators at the door: MARCUS (31, eager twink, the good cop) and SIGRID (52, stern, the bad cop), who immediately assume her to be Nora.
In a strange impulse, Polly doesn’t correct them.
ACT II