Best Movies about Worried mother

Movies about Worried mother

You’ll never look at peas the same way again after watching this scene from director Ruth Paxton’s upcoming terror tale.

Publikováno 7. září 2021

In the British horror movie Banket, Sienna Guillory (the Resident Evil franchise) plays a woman named Holly, who is still grieving the recent death of her husband when her teenage daughter Betsey (Jessica Alexander) starts to behave in a worryingly strange fashion.

«At the core, it’s about a family dealing with grief,» says first-time filmmaker Ruth Paxton. «It is a horror film, but it’s not full of jump scares and gore. I wanted the film to be a really uncomfortable experience and for the horror to be more insidious than visual. I didn’t want the audience to ever feel safe in the same way you never feel safe when you’re watching Zářící. That was a big inspiration for me.»

Banket costars Ruby Stokes and Lindsay Duncan and was written by Justin Bull.

«I wasn’t entirely sure whether the first film I made should be something that I haven’t written myself,» says Paxton. «But it was jako I’d written it. It was so in tuned with themes that I’m preoccupied with in my own writing. It was the kind of brand of horror I like, which is about things we can’t see and what goes on in our heads. I’m someone with a mood disorder, so my scariest experiences are the ones that have come from my own head.»

Banket has similarities to a pair of other recent horror tales, Rose Glass’ Svatý Maud and Prano Bailey-Bond’s Cenzurovat, with all three movies directed by British filmmakers and all three essentially dealing with the mental turmoils of female characters. Does Paxton think that is a coincidence or is there something else going on?

«I don’t know the answer, but I do wonder if it’s not coincidental,» says Paxton. «I know Prano. I don’t know Rose very well, but I’ve seen her movie and I loved it. I wonder if it’s about a better understanding of mental ill-health. Prepping for the film, I read up a little bit about what somebody was calling ‘transcendental horror,’ the idea that there’s a trend where really it’s about facing up to the horrors of what it is to be human, rather than monsters, or external forces. I think that may be something that’s having a bit of a heyday.»

Banket will receive its world premiere Friday at the Toronto International Film Festival, with a release set for early 2022. Exclusively watch a scene from Banket above and see stills from the film below.

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12 great movies about moms, from the heartwarming to the truly bizarre

Mothers can be your best friend or worst nightmare. These movies capture the complexity of having a mom — and being one.

By Alissa Wilkinson @alissamarie May 8, 2020, 12:40pm EDT

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Alissa Wilkinson zastřešuje film a kulturu pro Vox. Alissa je členkou New York Film Critics Circle a National Society of Film Critics.

Mother’s Day is beautiful. Mother’s Day is complicated. For some people, it’s a holiday to celebrate; for others, it’s a painful reminder of loss or broken relationships or worse.

So it follows that the phrase “great Mother’s Day movie” holds many different meanings. And Hollywood has relentlessly served up films about mothers and children for decades — some tender, some heartbreaking, some uplifting, and some downright disturbing.

Below, I’ve collected 12 of those movies, to suit a variety of tastes — horror, comedy, melodrama, and more. They’re not the “best” movies about mothers; instead, they’re movies I love or find significant for what they tease out of their stories about being a mother, having a mother, or dealing with some pretty serious mommy issues.

Ženy 20. století (2016)

Mike Mills’s semi-autobiographical Ženy 20. století is a cinematic mixtape dedicated to 1979, the year in which it’s set. But it’s also a tribute to the women who raised him, played in their fictional forms by Annette Bening, Greta Gerwig, and Elle Fanning. The trio discovers, as they navigate a fast-moving century, that there are gulfs between them and things that unite them — but that their relationships with one another are what keep them strong. Ženy 20. století tells a multigenerational story that’s light on its feet, funny, and wide-ranging, full of bright performances, evocative music, and the occasional experimental flourish.

Jak to sledovat: Ženy 20. století is streaming on Netflix. It’s also available to digitally rent or stream on iTunes, Amazon, YouTube, Google Play, and Vudu.

20th Century Women’s story of a makeshift family in 1979 evokes a whole century

Black Swan (2010)

Jistě, Black Swan is a horror film about a dancer who’s slowly losing her grip on reality. But it’s also, perhaps more subtly, about a grown woman named Nina (Natalie Portman) who’s desperate to break free from the clutches of Erica, her ballet mom (Barbara Hershey). Erica controls everything in Nina’s life — what she eats, who she talks to, how she spends her time — in an effort to make her daughter live out her own dreams. And there are subtle clues throughout the film that what Nina really wants, more than anything, is to get rid of the parts of Erica that lurk inside her, symbolically or a little more literally.

Jak to sledovat: Black Swan je k dispozici k digitálnímu zapůjčení nebo zakoupení na iTunes, Amazon, YouTube, Google Play a Vudu.

Dcery prachu (1991)

V 1991, Dcery prachu became the first feature film directed by an African American woman to open theatrically in the United States. Written and directed by Julie Dash, it tells the story of three generations of women on South Carolina’s St. Helena Island who are preparing to migrate north. The film gained widespread acclaim as a lyrical work that combined rich language, lush visuals, and song to tell its story, in which various women’s experiences as mothers, daughters, lovers, and survivors intertwine.

Jak to sledovat: Dcery prachu is streaming on the Criterion Channel and available to digitally rent or purchase on iTunes, Amazon, YouTube, Google Play, and Vudu.

Goodnight mami (2014)

What if your mother . wasn’t your mother? Goodnight mami is a super-creepy horror movie that lets the question linger. Twin 9-year-old boys welcome their mother home after her cosmetic surgery, her face swathed in bandages. But then they start to believe that she isn’t their mother at all and become determined to know the truth. And then things get wild. Not for the faint of heart — but cathartic if you want a good scare — Goodnight mami both gets at the essence of the relationship between mother and child and twists it evilly.

Jak to sledovat: Goodnight mami is streaming for free on YouTube, Vudu (with ads), and Tubi (with ads). It’s available to digitally rent or purchase on iTunes, Amazon, Vudu, and Google Play.

Imitace života (1959)

The second big-screen adaptation of Fannie Hurst’s 1933 novel of the same name, Douglas Sirk’s Imitace života is the story of two single mothers and their daughters: Meredith (Lana Turner) and her daughter Susie (played as a teen by Sandra Dee), and Annie (Juanita Moore) and her daughter Sarah Jane (played as a teen by Susan Kohner). Annie, who is black, cares for Susie, while Meredith, who is white, pursues her dream of becoming a star. The two families’ close connection grows strained as Meredith becomes more famous and the girls grow into young women — particularly because Sarah Jane is so light-skinned that she can “pass” as white. While Imitace života is most biting in its understanding of racial disparities, it’s also a melodrama about the fraught relationships between mothers and daughters.

Jak to sledovat: Imitace života is available to digitally rent or stream on iTunes, Amazon, YouTube, Google Play, and Vudu.

Lady Bird (2017)

Lady Bird is a coming-of-age story about a girl who learns that home is truly where her heart is. But home is also where her mother is. Lady Bird (played by Saoirse Ronan) and her mother Marion (Laurie Metcalf) have a tenuous relationship; Lady Bird rarely does what she’s supposed to, and Marion is worn thin by love and worry that manifests as sniping at Lady Bird. A scene near the end of the film, when Marion drops off her daughter at the airport, might be one of the best performances of Laurie Metcalf’s career — and it’s impossible to watch without reflecting on your own relationship with your mother.

Jak to sledovat: Lady Bird is available to digitally rent or purchase on iTunes, Amazon, YouTube, Vudu, and Google Play.

Mamma Mia! Zde jdeme znovu (2018)

První Mamma Mia! film was about Sophie (Amanda Seyfried) trying to figure out who her father was on the eve of her wedding, but the second is all about motherhood and, specifically, Sophie’s mother Donna (Meryl Streep), who has passed away. Now pregnant and contemplating the future, Sophie reflects on her mother’s life (Lily James plays the younger version of Donna), encounters her grandmother Ruby (played by Cher), and does a lot of singing and dancing to ABBA, obviously. Mamma Mia! Zde jdeme znovu is extremely silly and utterly life-affirming, and if you’ve dissolved in tears by the end of watching, you probably did it right.

Jak to sledovat: Mamma Mia! Zde jdeme znovu is available to digitally rent or purchase on iTunes, Amazon, Vudu, Google Play, and YouTube, or to stream on HBO Go and HBO Now.

Matka (2009)

In 2009, 10 years before the release of his Oscar-winning Parazit, Korean director Bong Joon-ho told the story of a mother who would stop at nothing to clear her son’s name. The mother (who remains unnamed but is played by Kim Hye-ja) is a widow who dotes on her son Do-joon (Won Bin), who has intellectual disabilities. One night a girl turns up dead, and Do-joon is arrested for the crime and forced to confess. His mother sets out on a quest to solve the mystery and free Do-joon. But the story is twisty and surprising, and ends in an uneasy place. It’s thrilling and sports Bong’s signature mix of horror and high comedy.

Jak to sledovat: Matka is streaming on Hulu. It’s also available to digitally rent or purchase on iTunes, Amazon, and Vudu.

Matka! (2017)

There’s so much pulsing beneath the surface of Matka! that it’s hard to single out just one theme as a symbol of what it “means.” It’s full-on apocalyptic fiction, and like all stories of apocalypse, it’s intended to pull back the veil on reality and show us what’s really happening. And this movie gets nutty: If its gleeful cracking apart of traditional theologies doesn’t get you (there’s a lot of Catholic folk imagery here, complete with an Ash Wednesday-like mud-smearing on the foreheads of the faithful), its scenes of chaos probably will. (The titular mother, as you might have guessed, has more than one layer, too.) Matka! is a movie designed to provoke fury, ecstasy, madness, catharsis, and more than a little awe.

Jak to sledovat: Matka! is streaming on Hulu (with a Live TV subscription). It’s also available to digitally rent or purchase on iTunes, Amazon, YouTube, Google Play, and Vudu.

Zprávy z domova (1977)

Chantal Akerman’s mother never appears in Zprávy z domova, which juxtaposes images of New York City with letters her mother sent her between 1971 and 1973, when Akerman was in her early 20s and living in the city and her mother was in their native Belgium. The letters are often banal, sometimes happy, sometimes pleading with her to call or write or come home more often. They’re not connected directly to the images onscreen, but the link is clear: We’re seeing what Akerman was seeing as she was turning over her mother’s words in her mind. Anyone who’s lived far from home and felt the pull of a mother’s simultaneous pride and reticence to let their adult child roam will identify.

Jak to sledovat: Zprávy z domova is streaming on the Criterion Channel.

Rosemary’s Baby (1968)

Rosemary’s Baby, starring Mia Farrow in an indelible performance, is ostensibly a horror film about what happens when a satanic cult wants to steal your baby and sacrifice him to the devil. It might even be a horror film about being impregnated by the devil. But it’s also simply a movie about the horror of pregnancy — a time when a woman might feel like she’s losing control of her body, occupied by another being, and subject to the poking and prodding and unsolicited advice of friends and strangers. Rosemary’s Baby is campy and sometimes extremely funny, but its visceral evocation of the experience of pregnancy is hard to miss, even for people who’ve never been through it firsthand.

Jak to sledovat: Rosemary’s Baby is available to digitally rent or purchase on iTunes, Amazon, Vudu, Google Play, and YouTube.

Cena za něžnost (1983)

Opravdová klasika, Cena za něžnost won five Oscars (including Best Picture) for its depiction of the relationship between Aurora Greenway (played by Shirley MacLaine) and her daughter Emma (Debra Winger). Mother and daughter are close, but widowed Aurora is controlling of Emma, and keeps her own suitors at bay in order to involve herself in her daughter’s life. The film traces decades of their lives together and apart, through good times and difficult ones. It’s an often funny, sometimes melodramatic tearjerker, and one of the definitive Hollywood films about mothers and daughters.

Jak to sledovat: Cena za něžnost is available to digitally rent or purchase on iTunes, Amazon, Vudu, Google Play, and YouTube.

Ve Vox věříme, že jasnost je síla a že moc by neměla být dostupná pouze těm, kteří si mohou dovolit zaplatit. Proto necháváme naši práci zdarma. Miliony lidí se spoléhají na jasnou a vysoce kvalitní žurnalistiku společnosti Vox, aby pochopily síly, které formují dnešní svět. Podpořte naši misi a pomozte udržet Vox zdarma pro všechny tím, že dnes Vox finančně přispějete.

New films show anxious, stressed moms and dads dealing with kids — for better and worse

LOS ANGELES – Kate Winslet, Christoph Waltz, Jodie Foster and John C. Reilly fight over how it ought to be done in “Carnage.” George Clooney in “The Descendants,” Matt Damon in “We Bought a Zoo” and Sandra Bullock in “Extremely Loud & Incredibly Close” are worried about doing it alone. Viola Davis does it for other people in “The Help.” Demian Bichir does it as an immigrant in “A Better Life.” Nick Nolte is trying to do it over sober in “Warrior.” And Tilda Swinton has blood-soaked proof that she has done it all terribly wrong in “We Need to Talk About Kevin.”

Parenting – specifically parental guilt and anxiety – is the subtext of a surprisingly large number of the year-end and awards-season movies. If a boy without parents – Harry Potter – was 2011’s biggest box office draw, films about parents themselves, in states of conflict, befuddlement, loss and awakening, are dominating art houses and critics’ lists.

Parents have long intrigued filmmakers and also reflected their eras – in 1962, Alabama attorney Atticus Finch became synonymous with fatherly protection in tumultuous times in “To Kill a Mockingbird”; in 1979, “Kramer vs. Kramer” dramatized a nation’s spiking divorce rate; Diane Keaton carried the briefcase for working moms in 1987’s “Baby Boom”; and a therapized generation of dads got their moment in “Parenthood” in 1989.

Now come the hyper-self-critical, stressed-out parents. Reflecting and sometimes commenting on a culture of self-conscious child-rearing, many recent films show moms and dads who seem far removed from the assuredness of their cinematic forebears. Imagine if Atticus had read daddy blogs, or if the booze-addled, bickering couples in “Who’s Afraid of Virginia Woolf?” landed their best zingers about playground etiquette and arts education.

“Societally, parenting is shifting, and that’s being reflected in the movies,” said Dr. Alexandra Barzvi, clinical assistant professor of child and adolescent psychiatry at the New York University School of Medicine and host of the Sirius radio show “About Our Kids.” “In the past, people parented based on instincts and how they were raised, but now with technology and the ease of transmittable information, we know so much more about parenting. We do so much more thinking about parenting. You can’t turn on a morning show without an expert talking about college anxiety, how to keep your kids busier. … Everyone wants to know how everyone else is doing it.”

“It’s a scary time to be a parent,” said Reilly, a real-life father of two who plays an ineffectual dad in two new films – one oblivious to his son’s dangerous detachment in “We Need to Talk About Kevin” and another arguing with his wife and another couple about how to resolve their sons’ playground fight in “Carnage.”

“People are freaking out – What’s happening to my quality of life? I have no time to spend with my kids, I can’t take care of my kids, I don’t have healthcare for my kids. … ‘Kevin’ might be a horror story for parents, and ‘Carnage’ a horror story about parents.”

“Carnage,” Roman Polanski’s retelling of Yasmina Reza’s Tony Award-winning play “God of Carnage,” sends up the hyper-involved culture of well-to-do urban parents, as two couples devolve into children themselves while debating their sons’ spat.

“The kids come off as the noble ones in ‘Carnage,’ the ones who are the most clearheaded and honest,” Reilly said.

“The parents come across pretty hypocritical and pretty cynical. These characters are trying to do something for the kids that the kids should probably be doing for themselves, which is resolve this conflict…. These people see the kids as extensions of themselves… It’s almost like keeping up with the Joneses. Instead of who’s got the nicer car, it’s who’s doing better for their kid.”

A mother’s point of view is historically rarer on film than a father’s, though moms are getting more screen time lately, thanks perhaps to the gender of the storytellers. “Carnage” was written by a woman, “We Need to Talk About Kevin” was directed by one, and “The Help” is based on a novel by a female writer. “The Descendants,” an adaptation of another female novelist’s work, forces its father to take over maternal responsibilities.

“Mothers are more often absent, and fathers are more often inadequate,” said Steven Greydanus, film critic for the National Catholic Register and editor of the Christian movie website Decent Films.

“When there is a mother she’s more often competent, involved, she understands her role better, she relates to the children better. But she’s more often dead or gone…. Movies generally reflect a male point of view.”

In “We Need to Talk About Kevin,” director Lynne Ramsay’s adaptation of the 2003 novel by Lionel Shriver, Swinton plays Eva, the mother of Kevin, a boy who commits a Columbine-style school massacre.

Told from Eva’s point of view, “Kevin” contrasts Eva’s reluctance about becoming a mother and her growing awareness of Kevin’s problems with her husband’s blind enthusiasm.

“What the film really captures is that the mother is constantly thinking about things,” said Stella Bruzzi, author of “Bringing Up Daddy: Fatherhood and Masculinity in Post-War Hollywood” and chair of the faculty of the arts at the University of Warwick in England. “The dad is very much portrayed as someone who is much more superficial and doesn’t want to analyze the family relationship, which is clearly going wrong. It’s very sympathetic to the female point of view, which is unusual.”

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Fatherly confusion is played both for humor and pathos in Cameron Crowe’s adaptation of Benjamin Mee’s memoir “We Bought a Zoo.” Matt Damon is Benjamin, a recently widowed father of two who makes an impulse purchase to repair his grieving family: Instead of a puppy, he overcompensates and buys a whole zoo.

Scarier than tending the lions and tigers, however, is reaching his own angry 14-year-old, Dylan (Colin Ford). In one scene, Benjamin discovers some of Dylan’s disturbingly violent drawings.

“I wanted to catch a little bit of authenticity and the experience I’ve had raising two boys,” said Crowe, who is divorced and has twin 11-year-old sons. “As kids start to reach their preteens, they’re living in a world that excludes you often. It creates a lot of turbulence. That scene becomes the moment in the movie when Matt and Colin have their one explosive argument. It made me think, ‘This is the hidden world of parents and kids.’”

Lonely, widowed or abandoned fathers like Benjamin Mee are a romantic film archetype, according to Bruzzi, who points to such examples as “To Kill a Mockingbird,” “The Sound of Music” and “Sleepless in Seattle.”

“Widowed fathers are seen as heroes, really, much more than their female counterparts,” Bruzzi said.

“They’re romanticized, but they’re also romantic figures. Atticus Finch isn’t just a good father, he’s seen as doubly good because he’s fathering on his own. He’s the pillar of his small Southern community…. Atticus doesn’t spend much time wondering about being a good dad. There’s a marked lack of reflection.”

Contrast that self-possession with George Clooney’s character, Matt King, in “The Descendants,” Alexander Payne’s adaptation of Kaui Hart Hemmings’ Hawaii-set novel of the same name. Matt, who refers to himself pejoratively as “the backup parent,” is forced to navigate his daughters’ school conflicts and antisocial behavior on his own after a boating accident leaves his wife in a coma.

Hemmings said she wrote the novel when her daughter was 1 year old, and she began to consider how another, more hands-off generation of parents would deal with the sometimes ludicrous pressures she faced as a young mother living in San Francisco. Clooney’s character, she said, is based on her grandfather, a surgeon.

“I wanted to really push this guy out of his element,” Hemmings said. “My grandfather would come home and have his martini hour and engage with his kids, but then he clocked out as a parent. You don’t do that anymore. I joined this mothers group, and it was just sort of this absurd culture to me. I was overwhelmed by parenting. … The focus on having the right things and what are they eating … lactation consultants, crib consultants, I swear to God there are curtain consultants. Parenting has become this whole other culture.”

One of 2011’s surprise box office hits, “The Help,” deals with a largely unexplored area of parenting – the bonds that develop between caretakers and children, specifically between black maids in Jackson, Miss., in the 1950s and ’60s and the white babies they helped raise, as well as the sacrifices those maids made as parents themselves. “What does it feel like to raise a white child when your own child’s at home being looked after by somebody else?” Skeeter (Emma Stone) asks Aibileen (Viola Davis), a black maid who has raised 17 white children, often, it seems, with more tenderness and patience than their own parents had to offer.

“Parenting is not just a parent and a child,” said Tate Taylor, who directed “The Help” and wrote the script based on his childhood friend Kathryn Stockett’s bestselling novel. “It’s people we love. Aibileen becomes a kind of parent for Skeeter. She’s a kind of co-mother. I had a co-mother too, because my mother didn’t get to be there. As a single mom, she was worried about how do I feed and clothe my son and make a living and care for him?”

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2012 will bring more nervous parents to the screen – in March’s “Friends With Kids,” Jon Hamm and Kristen Wiig are parents with a deteriorating sex life; in May’s “What to Expect When You’re Expecting,” a fictionalized take on the pregnancy advice book, Elizabeth Banks plays a Type-A breast-feeding enthusiast; in “The Odd Life of Timothy Green,” due in August, Jennifer Garner and Joel Edgerton play a couple who can’t conceive but find a 10-year-old child on their doorstep; and in September, Disney is re-releasing in 3-D the highest-grossing overprotective dad movie of all time – 2003’s “Finding Nemo,” about a widowed clownfish whose son is captured by a scuba diver.

(EDITORS: STORY CAN END HERE)

“When I think about the movies involving parents and child-parent relationships in the last few years, the dominant emotion that comes to my mind is guilt,” Greydanus said.

“Parenthood is seen by and large as a losing game, as something that you can’t really do well, or at best you try to make up later for the mistakes of the past and maybe your children will forgive you when they get out of therapy.”

If there’s an upside to these struggling screen parents, it’s that they can serve as a needed dose of reality for would-be Atticus Finches and June Cleavers, Barzvi said.

“Parents don’t have enough permission to talk about how hard parenting is and how much they hate their children sometimes, or their children’s Diane Keaton behavior,” she said.

“It’s important that parenting be depicted accurately and with humor. It’s very helpful for families to see blended families, all of these kinds of new combinations, single parent families. People wonder, are TV and movies brainless activity? No, they alleviate anxiety and guilt. Great, I’m glad to see I’m not the only imperfect parent!”

Visit the Los Angeles Times at http://www.latimes.com

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