Daughters of Abraham

The scouts

Everyone's expecting the radical move here—two women from opposing sides finding common ground—but Pedersen refuses the easy catharsis; the real subversion is in how tender and unsentimental she keeps it, letting the premise breathe without needing to 'solve' anything.

This sits squarely in the essay-documentary tradition of bearing witness, with the formal restraint of filmmakers like Agnès Varda—two voices, careful framing, the recognition that some conversations demand silence as much as speech, and Pedersen trusts that completely.

The film hinges on a single structural choice: letting both women speak in their own register rather than smoothing toward a false equivalence, and that refusal to mediate their difference is what makes the humanity actually land instead of feel imposed.