Part of getting films into cinemas after a period of closure is that there are still a number of titles that probably would have gone straight to streaming which are still getting a shot, and this feels like one of those. Still, it looks good on the big screen, whatever other shortcomings it may have.
There’s stuff in this film that feels a bit programmatic and well-trodden, and when the script does get to the emotional sharing (right at the very end) it suddenly starts to feel like too much, but that’s because the rest of the film is an exercise in restraint that is made more precise and affecting by the quality of Robin Wright, the star and director, in this role. She has retreated to the wilds of Wyoming after some unnamed tragedy, but it quickly becomes clear it has to do with a death close in her family, and pursues a solitary life to varying success, eventually settling in. This process forms the bulk of the film as time slips away unnoticed until she becomes reacquainted, in a small way, with the comfort of fellow humans (in the form of Mexican actor Demián Bichir). The way that her isolated life and his incursion is played out is very nicely done, and it feels almost like a step too far that the script feels the need to wrap it up with a little moral lesson but even that feels earned by the slow, but never boring, pacing.
Director Robin Wright; Writers Jesse Chatham and Erin Dignam; Cinematographer Bobby Bukowski; Starring Robin Wright, Demián Bichir, Kim Dickens; Length 89 minutes.
Seen at the Penthouse, Wellington, Friday 21 May 2021.
UPDATE: Since the review below was written, this movie has been renamed Adore for the English-speaking market (or Adoration in some places). The title in France was Perfect Mothers. I’ve updated the review’s title to reflect this change.
As an Australian/French co-production (and entitled Perfect Mothers when I saw it in Paris), it’s tempting to credit the naturalistic acting style to the former, and the overwrought romantic storyline to the latter, but perhaps it’s unfair to suggest that Australian cinema shies away from dealing with rather twisted affairs of the heart. That certainly isn’t the case here.
The story, just to set it up briefly, deals with the eponymous mothers, Lil (played by Naomi Watts) and Roz (played by Robin Wright), whose entire lives appear to have been spent in each other’s company in the same sleepy seaside Australian town. In the space of the credits sequence, the film skips forward from their adolescence playing in the sea, to their own children (both boys) playing in the sea around the time of the funeral of Lil’s husband, to when their boys are fully grown, all on the same stretch of light-saturated beach. It’s all presented as fairly idyllic — sitting out by the sound of the sea sipping sauvignon blanc in the sunshine — and we never really get much of a sense of the rest of the town (except that there’s an office where Lil works, and a small theatre where Roz’s husband and son work). The point at which it all starts to unravel a bit, and where the (French) title gets its ironic sting, is when it becomes apparent that their respective children have developed romantic attachments towards the other’s mother, and that these feelings are reciprocated.
However one feels about the somewhat incestuous theme of the film, there is real delight to be had in the acting, which feels unforced and fresh. Wright’s Australian accent only occasionally falters, and both she and Watts do really well with the uncomfortable subject matter. It’s to the film’s (and the actors’) credit that it’s the relationship between the two mothers, rather than that with the (rather bland) sons, which anchors the story and feels like the primary interest of the film.
The location is well-chosen too, since it has to be convincing in its hold over the characters. Continue reading “Adore (aka Two Mothers, aka Perfect Mothers, 2013)”