In his first narrative film, “Mama,” directed by Or Sinai, the filmmaker demonstrates a keen eye for character development. The story is inspired by tales from Eastern European women who were migrants in Israel and focuses on Mila (Evgenia Dodina), a housekeeper supporting her family in Poland. A sudden event forces Mila to return home, only to find out that her family doesn’t require her assistance as much as she believed. Despite being a captivating character study of an intriguing woman, the film occasionally leans on overly dramatic moments that diminish its emotional impact.
Primarily, Sinai’s film is a social drama that focuses on the struggles of its characters’ financial situations and highlights the injustices they face. Initially, we see Mila in a grand, luxurious home belonging to her employers, and their interactions with her reveal her subservient role. Although they may claim she’s family, it’s clear she is a servant. She finds comfort in a loving relationship with another household staff member, the gardener named Martin Ogbu. These early scenes successfully convey Mila’s emotional state and expose her vulnerabilities.
In the small Polish village where she originates, the roles are reversed for Mila. Here, she stands as the powerful matriarch over her husband (Arkadiusz Jakubik) and daughter (Katarzyna Łubik). Her wealth is what sustains them all, financing Katarzyna’s education and the construction of a new home they intend to inhabit. After years spent laboring to provide a comfortable life for the family, Mila emerges as a domineering figure who believes she has all the answers. When she learns that another woman (Dominika Bednarczyk) has taken her place as both lover and surrogate mother to her husband and daughter, Mila frantically attempts to maintain her position of authority within the family.
As a cinema enthusiast, I found myself disappointed by the film’s approach to Mila’s story. Instead of continuing the thoughtful character study we’ve seen in “Mama” thus far, it seemed to veer into overly dramatic territory that didn’t align with her well-established character. While melodrama can add depth and intensity to a narrative, it only works when executed skillfully. Unfortunately, these dramatic turns felt more like a series of puzzling decisions made by Mila rather than a natural progression of her character or the consequences of her actions.
In the beginning, there was a compelling and confrontational drama unfolding between Mila and the other characters she interacts with in Poland. I believe the conflicts between them could have been more effectively showcased without resorting to such convoluted plot twists.
The alteration significantly impacts Łubik’s portrayal, with her character predominantly displaying hysterical reactions to her mother’s actions throughout the performance. The script, unfortunately, does not provide adequate depth for Bednarczyk, who delivers a nearly silent role yet manages to create a fully-realized character. As “Mama” evolves into a heated battle between mother and daughter, the other character fades away. Ogbu offers a soothing and affectionate presence as “the lover,” but “Mama” misses an opportunity to develop its sole Black character with depth. In the film, he serves primarily to augment the lead character’s characteristics, adding sensuality and color-blindness without fully exploring his own dimension.
The heart of the movie revolves around Dodina’s compelling portrayal. Her intense stare pierces the screen and seems to penetrate those watching, revealing a deep, moving, and powerful character. Mila is intricate, strong-willed, and at times bitter, and Dodina doesn’t attempt to make her appear softer in any way. Instead, she presents her exactly as she is, flaws and all. Dodina never aims for the audience’s pity but manages to evoke deep empathy instead.
As a movie enthusiast, I’d put it like this: Matan Radin’s skillful, straightforward cinematography beautifully portrays the expansive home of an affluent Israeli family, bathed in warm, sun-kissed tones reminiscent of the desert. On the other hand, the character’s compact living spaces in Poland are shot with a gloomy, confined lighting that perfectly encapsulates their cramped existence. Sinai’s camera work subtly tightens around Dodina as Mila expresses her discontent, mirroring how the world seems to be closing in on her, driving her towards illogical choices. In these moments, the filmmaking’s power overshadows the script’s flaws.
Through the term “Mama”, one can comprehend why a first-time feature filmmaker like Sinai was granted an opportunity at Cannes: this is an impressive and engaging debut. Despite some shortcomings in script complexity, Sinai compensates remarkably with her confident direction and skillful handling of the lead performance.
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2025-05-27 23:47