Georgia 1995

Georgia Flood, Mare Winningham, is a successful folk singer who seems to have it all—a thriving career, a loving husband, and two young children. Her sister Sadie, Jennifer Jason Leigh, is younger but unstable, a bold punk-flavored vocalist who never quite finds the same steady footing in the music world. When a recent tour with a blues singer ends badly, Sadie shows up unexpectedly at the Seattle-area farm that doubles as their family home, promising to stay awhile and figure things out.

To get back on track, Sadie asks her ex-boyfriend Bobby if she can rejoin his band. Bobby is wary because of her history with drugs, but he relents, and Sadie plunges back into the touring grind—singing in smoky dive bars and a nondescript bowling alley, chasing the next gig while fighting a familiar pull toward alcohol and heroin. She forms a tense, codependent friendship with Herman, the band’s drummer who shares her addiction, and the duo’s chemistry only deepens the sense that they’re caught in a destructive loop.

A high-stakes moment comes during a performance at a Jewish wedding, when Sadie, disoriented after a bathroom Nyquil binge, blanks mid-song and hands the mic to a bandmate to finish the set. The moment crystallizes the fragility of her comeback, and the fallout is swift: Herman is kicked out of the band for drug use, and Sadie’s path toward stability looks shakier than ever.

While running errands for Sadie—groceries and liquor—Axel, a young man who becomes her husband, introduces himself as a fan and expresses genuine affection for her music. He sees in Sadie a chance for a life beyond the chaos, and, increasingly, he seeks Georgia’s guidance on how to help her sister. Georgia carries a quiet weariness about stepping into the caretaker role, yet she remains open to protecting and guiding Sadie, even as she grapples with the toll it takes on her own family.

At a benefit concert, Sadie is invited onstage to perform a solo version of a Van Morrison classic, Take Me Back. The moment is painful to witness—Sadie is intoxicated, off-key, and straining to locate the soul of the song. Georgia cuts in to harmonize, attempting to “save” the moment and steady the ship for the audience. The onstage duet becomes an uneasy cliff edge: a tense car ride home afterward leaves Sadie feeling arraigned and defensive when she protests Georgia’s interference. A hard choice is made in the moment, and Sadie exits the car to hitchhike back to her motel with Axel.

Georgia’s husband Jake weighs in, suggesting that his wife may be harder on Sadie than necessary, losing sight of the deeper pain behind Sadie’s dependence and the heavy weight of living in someone else’s shadow. Axel, meanwhile, grows increasingly weary of Sadie’s self-destructive cycles. He leaves to visit his ailing mother, insisting he will return, but his departure foreshadows a breaking point in their marriage.

Desperation pushes Sadie to seek help from Chasman, her former manager. He refuses to take on the financial risk of representing her, offering instead a quick, drug-fueled fix that does little to fix her life. In Oregon, Sadie spirals into withdrawal and attempts to board a flight back to Seattle without shoes, triggering a public scene that ends only when a compassionate traveler lends her sneakers. Georgia arrives to escort Sadie to a rehab center for detox, signaling a pivotal moment of intervention and care.

During treatment, the sisters begin a slow reconciliation. Clay, a bandmate, visits and sadly informs them that Herman overdosed while Sadie was away, underscoring the real consequences of their entangled lives. After the hospital stay, Georgia welcomes Sadie into her home so she can recover in a safer space. Time passes, and a porch conversation marks a turning point: Sadie accuses Georgia of being emotionally distant, while Georgia finally speaks a truth she had kept hidden—Sadie’s relentless need to be the center of attention is exhausting to everyone around her, and even with her best efforts, she can’t truly sing the way she hopes. Hurt, Sadie shoots back, “You wish.”

The end frames a bittersweet compromise between ambition and family. Sadie takes the stage again with her band for the somber, aching ballad Hard Times Come Again No More in a Portland bar, while Georgia lends her voice to the same song for a larger crowd elsewhere. The contrast between small, intimate applause and roaring public acclaim highlights a personal victory that feels like a hollow triumph. In a final, quietly defiant moment, Sadie admits, amid the applause and noise, “No one does that song better than my sister.”

You wish.