When it comes to their mother’s attention and care, it’s always a moment of truth for Anna and Charlotte. Especially when it comes to gaining acceptance and seeking her approval for their life choices. It’s inevitable that this situation sparks competition, even at the cost of their own emotional stability. And it’s precisely the instability of the two protagonists that Rosanne Pel’s second film builds upon: her frantic and frenetic direction is always the objective correlative of an impossibility of harmony, of an incessant uncertainty. Traveling between past and present, between dreamlike derailments and very real embarrassments, Donkey Days indulges the noises with which Anna and Charlotte try to mask their frustration, only to then sink the blade into the stark moments of crisis that the two performers, Jil Krammer and Susanne Wolff, magnificently depict in their proxemics.