Fuller views of motherhood
Mainstream films and TV often paint motherhood in broad strokes. A mother is either endlessly devoted to her children, or her absence serves as fodder for a protagonist’s origin story, as our critic at large Amanda Hess writes. But more productions are now challenging those notions with complex portrayals.
In “The Lost Daughter,” Leda (played by Olivia Colman), an academic, leaves her young daughters to pursue her career, as many deadbeat fathers have done before her. “Children are a crushing responsibility,” she tells a pregnant character. Yet the movie reserves judgment and depicts Leda as a human being, not a monster. “We can dislike her, but we are never permitted to revile her,” Jeannette Catsoulis writes in a review.
There’s also Penélope Cruz’s character, in “Parallel Mothers,” a pregnant 40-year-old woman who befriends a teenage mother-to-be and makes an immoral decision about their newborns. “Instead of reassuring audiences that mommy is always a bastion of safety, these filmmakers have created mother heroines who are unpredictable, erratic and even a little bit frightening,” Emily Gould writes in Vanity Fair.
Even the “Sex and the City” reboot “And Just Like That …” is part of the trend. At one point, Miranda — a mother to a hormonal teenager — tells a character who is considering having children that there are many nights she wishes to “go home to an empty house.”
These works, Gould writes, “present their mothers as full human beings, even when their needs are structurally opposed to those of their children.”