The Best Mother in the World: From Abuse to Resilience

by

The first occasion when Anna Muylaert screened a movie at the Berlin Film Festival significantly altered her life, although not entirely for the better. “The Second Mother,” which garnered the Panorama Audience Award, represented Brazil in the Academy Awards, and was the most popular film of the year in the country, propelled Muylaert’s career and brought her international recognition.

The film titled ‘The Best Mother in the World‘ was sparked by an unforeseen surge of mistreatment, leading its director to explore how women navigate their lives.

Prior to the debut of her new work, Muylaert opened up about her experiences following the acclaim of “The Second Mother.” She expressed that while she garnered respect from both critics and audiences, she also faced a significant amount of hostility from those in her inner circle. Drawing parallels with Sandra Hüller’s character in Justine Triet’s film “Anatomy of a Fall,” Muylaert explained that her personal relationships started to deteriorate once she tasted success.

As my reputation blossomed in the film industry, I found myself subjected to verbal, psychological, and even sexual abuse – quite an unexpected turn of events,” I shared, shaking my head in disbelief. “Prior to this, respect had always been the norm. But as my name started to resonate, I was met with a shocking lack thereof.” I sighed heavily, still feeling the weight of that devastation.

The harrowing event served as the initial inspiration for “The Best Mother in the World,” a tale that chronicles the life of Gal (played by Shirley Cruz), a garbage collector, as she bravely leaves her abusive spouse (depicted by Seu Jorge, a well-known actor and musician). Accompanied by her two children and a meager collection of possessions in a cart, she embarks on a challenging journey across the sprawling cityscape of São Paulo. This story emerged from my desire to discuss this experience, which was later sparked by a friend’s account of two women who navigated São Paulo with their children in trash collecting carts. I found this image remarkably powerful, and the plot instantly came to mind.

Muylaert spent time with female garbage collectors, visiting their homes as well as their cooperatives, gaining insight into their lives and difficulties. One woman in particular stood out to the director, who remembers visiting her home and discovering that her walls were made of cardboard and she had to carefully ration salt when feeding her children. “She was the most noble person I had ever encountered,” said the director, “I became friends with her and through her, I met many other women whose stories would ultimately shape the character of Gal.

The filmmaker expresses her desire for an indomitable spirit and wishes to portray a femininity that remains steadfast and perseveres through challenges. She describes this narrative as one centered on respect, particularly self-respect, and a woman who refuses to tolerate disrespect.

Reflecting on the theme of respect, Triet’s “Anatomy of a Fall” resonated deeply with me as a fellow filmmaker. It made me ponder about creating a documentary focusing on female directors, as I found myself recognizing my experiences weren’t unique – being given opportunities but not always being respected enough to execute them effectively.

Asked about significant changes in the industry and the broader world over the past ten years since “The Second Mother,” Muylaert responds by acknowledging substantial transformation, yet expressing her viewpoint that modern society might have gone too far with “excessive compensation” or overcompensation.

As a movie enthusiast reflecting on the past decade, I must admit that the world has experienced quite a transformation, and at times, it feels slightly over-the-top. Recently, the uproar surrounding Emilia Pérez’s actress, Karla Sofía Gascón, caught my attention. She found herself in hot water due to some questionable posts on the platform now known as X, which used to be Twitter.

The director pointed out that it’s troubling to see Trump approving numerous transphobic policies while a transgender woman is being viciously attacked globally,” he said. “She may have made mistakes, and she might have expressed some conservative views, but the intensity of this backlash seems reminiscent of Trump’s style. This woman could end her life due to this public shaming, all over a few tweets. I believe we’ve lost our sense of compassion.

Additionally, Muylaert contends that contemporary society has yet to fully grasp the “political power of motherhood.” Given her frequent exploration of motherhood in her films, the director expresses a strong attraction towards mothers as significant “political figures.” She further proposes the establishment of a “Ministry of Motherhood” to aid women during their transition into parenthood.

According to the director, mothers hold a crucial role in society as they are primarily responsible for shaping future generations through their children’s education. Unfortunately, if a mother experiences domestic abuse, there is a risk that her son may become an abuser himself or her daughter may accept abuse in her own relationships. This can create a vicious cycle of violence that spans generations.

In their collaborative effort, the director and Shirley Cruz focused on creating a tangible representation of both the effects of such violence and the power of resilience. As the director put it, “The work was extremely physical. Shirley had to undergo rigorous physical training; our concept was that she was akin to a buffalo, and her body needed to convey this.” The director expressed deep respect for Shirley, calling her a truly courageous individual. She added, “It’s no accident that Shirley was chosen to play Gal. She is a woman who will not be disregarded, who will not waver in her beliefs.

Experiencing my third visit to Berlin following performances at the festival with “The Second Mother” and “Don’t Call Me Son,” I can genuinely say that I am overjoyed! This festival is simply unparalleled, boasting spacious screening rooms and exceptional sound quality. The projection in Berlin truly sets a standard, and I’ve found audiences here to be incredibly warm and receptive. I eagerly anticipate the cinematic experience my film will provide on the big screen and the connection it will forge with these attentive viewers. It’s an immense honor to return.

World’s Best Mom” is a production of Biônica Filmes, Telefilms, and Galeria Distribuidora. The distribution rights for the entire world belong to Galeria Distribuidora.

Read More

2025-02-14 20:50