Louisa Connolly-Burnham – Sister Wives

By: Karen Steinberg

Q) Please tell us the premise for the short film Sister Wives.

A) Sister Wives tells the tale of two women living in a strict, polygamous society, who find themselves bound to one another, under the same roof, in the same marriage, as they begin developing feelings for each other. Sister Wives will offer a vital perspective to the canon of coming-out films; at its core, a story of female friendship, of allyship, a story of exploration, both physical and psychological, as together they find the courage to dream in tandem, of a world beyond the walls.

Q) How did the concept for the film come to you?

A) My introduction to the community came through the Netflix docuseries “Keep Sweet, Pray and Obey,” and I was instantly intrigued. What caught my attention was how their world, despite being so compelling, had yet to be thoroughly explored from a narrative standpoint. The community holds immense creative possibilities, from its unique costumes and makeup to its intricate production design. At the same time, it confronts deeply complex and unsettling issues such as polygamy, child marriage, domestic violence and sexual abuse, making it both a fascinating and challenging subject to examine.

Q) The lives and bonds of Sister Wives have only become more familiar to the public thanks to networks like TLC and Bravo. Did you do much research into their relationships and connections while writing this?

A) When I wrote Sister Wives a few years ago, Mormon culture wasn’t nearly as present in the zeitgeist as it is now—it feels like everyone is obsessed with it, which is incredibly serendipitous. I’m particularly fascinated by the show “The Secret Lives of Mormon Wives” — Polyester even did a piece comparing that show to our film, which was surreal. I have a deep fascination with Mormon culture; I find it endlessly intriguing. I’ve devoured all the shows, books, and podcasts on the topic, and that immersion played a huge role in shaping Sister Wives.

Q) You wrote, directed and star in the film. Were you always in mind to take on so much responsibility?

A) I suppose I’m a bit of a masochist in that sense—I thrive on taking on a heavy workload and a lot of responsibility. Honestly, I’d call myself a workaholic. I also felt that no one understood this film, its story or its characters as deeply as I did, so it was important for me to oversee everything and ensure the vision matched what I had imagined. While I genuinely loved wearing all the different hats, I’d say the most challenging role was producing. Producers have an incredibly tough job, which is probably why they’re so hard to come by.

Q) How involved were you when it came to casting the movie?

A) I’d already cast Mia [McKenna-Bruce] and Michael [Fox] in my head while I was writing, and I was fortunate that the two actors I envisioned happened to be close friends of mine. I feel incredibly lucky that it worked out so seamlessly.

Q) What did you find most challenging about bringing the script to the screen?

A) This project had a production value far beyond anything I’d worked on before, which meant navigating a significantly larger budget and the challenges that came with financing it. To complicate matters, we shot in January in England, enduring freezing temperatures for numerous outdoor scenes—a feat in itself. Adding to the pressure, we had to film nineteen pages in just four days, an extremely tight schedule that demanded careful planning and exceptional efficiency to keep things on track. And, of course, trying to make Surrey look like America is never an easy task!

Q) What were some of your most memorable moments from shooting Sister Wives?

A) One night on our way to set, our car got completely stuck in the mud—like, properly stuck. It was freezing cold, pitch black and since we were basically an all-female crew, there were no men around to help us out. So, naturally, we rolled up our sleeves and handled it ourselves. Four of us piled out of the car and started pushing. I was literally dressed as Kaidence, in her blue prairie dress and wig, shoving a car out of the mud. Somehow, we managed to free it and the whole thing was equal parts chaotic and hilarious. As we finally got it moving, we screamed “Feminismmm!” at the top of our lungs. It was ridiculous, brilliant and unforgettable.

Q) Is there an emotion or message that you hope lingers with audiences that explore this short film?

A) With Sister Wives, I hope audiences take away the idea that love, connection and identity are profoundly personal and often defy the rigid boxes society tries to place them in. At its heart, it’s a story about embracing authenticity, finding beauty in unconventional relationships and challenging societal expectations. My goal is for viewers to feel inspired to question the norms around them, celebrate the richness of human diversity and find empowerment in self-acceptance.

Q) Any thoughts of turning this from a short film to a feature film?

A) I’m very excited to say that we are shooting the feature film this year.

Q) What is next for you? Either on-camera or behind it.

A) The feature version of Sister Wives and three short films called: The Intimacy Coordinator, Full Fat and Scratching Post.