‘The Best Mother in the World’ Review: Another Study of Maternal Resilience from Brazil’s Anna Muylaert

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In “The Best Mother in the World,” the title isn’t meant to be sarcastic or overly dramatic like it would be in a film like “The Worst Person in the World.” Instead, there’s an underlying truth in its exaggeration: Many people who have good relationships with their mothers often see them as the best in the world, despite any mistakes or flaws. In the movie, Gal (played by Shirley Cruz), the main character who is constantly put upon, has children who genuinely believe this about her, and their devotion only grows stronger as they face challenges together. The film tackles a serious issue of domestic abuse in Brazil while also trying to tug at our heartstrings, but it’s a delicate balance between social realism and feel-good uplift. Still, Cruz’s powerful performance manages to keep the story from falling apart.

Muylaert continues to garner recognition primarily for her 2015 work, “The Second Mother,” a Sundance winner praised for its insightful class critique and compassionate tone. Similar to this film, “The Best Mother in the World” focuses on a working-class woman’s efforts to provide for her children amidst a system and economy that often works against her. The emotional resonance of her struggle, as well as the broader portrait of women’s rights in modern Brazil, is difficult not to feel. Compared to its predecessor, this film is less nuanced and more emotionally charged, with straightforward production and screenplay that occasionally borders on melodramatic, but could appeal to festival audiences after its Berlinale Special premiere.

The movie begins with one of its most intense and complex scenes, showing a battered Gal nervously waiting in a police station to report her partner Leandro (played by Seu Jorge) for yet another violent altercation. In a hesitant manner, she tells the female officer about how he often beats her when she denies his sexual advances, but she quickly defends him saying, “He’s such a good man, there are just days when I can’t.” Overcoming her self-blaming thoughts will be challenging for Gal in the movie titled “The Best Mother in the World,” which portrays both Leandro’s abusive nature and Gal’s persistent love for him truthfully. She is cautioned that making a complaint could be a decision she can’t undo. A black screen symbolizes her indecision.

Instead of waiting for an opportunity, she chooses to orchestrate their departure, swiftly rounding up her children named Rihanna (Rihanna Barbosa) and Benin (Benin Ayo), while Leandro is occupied in the shower. With them, she navigates the bustling streets of São Paulo using the pushcart she uses for collecting trash to earn a living. To keep their fears at bay, she portrays this as an exciting adventure, camping on sidewalks and learning street-wise survival skills like urban scavenging. However, her kids aren’t entirely convinced by this narrative — especially Rihanna, who is aware of the potential danger Leandro poses and keeps it hidden from her mother.

In Muylaert’s narrative structure, the city portrays a mix of harshness and kindness towards Gal, the desperate protagonist. For each exploitative adversary that Gal meets on her journey, there is at least one sympathetic companion – notably Munda (Rejane Faria), a resilient, disabled squatter who inspires our heroine to take charge of her life. Although Munda appears somewhat as a rhetorical device for reinforcing the film’s message, she offers more empowering support than Val (Luedji Luna), who allows Gal and her family to stay for a few days but whose hospitality hides a traditional viewpoint on Gal’s struggles. “Weren’t your dad always beating your mom? It’s normal, woman,” Val says dismissively, accusing Gal of exaggerating her troubles.

As a fan, I found “The Best Mother in the World” to be an impactful portrayal of how deeply ingrained misogyny is within our collective cultural mindset, and how challenging it can be to break free from it. Throughout the movie, especially during the prolonged, turbulent third act that vacillates dramatically between harrowing danger and heartwarming euphoria, I could sense Gal’s struggle to escape this cycle. Although the film may oversimplify the difficulties of ending a cycle of violence, it does emphasize the potential for transformation instead of focusing on the bleakest possible outcomes. There’s an understated backstory of ongoing strife and disillusionment in Cruz’s worn physicality and cautious, world-weary voice delivery. Where the film occasionally takes shortcuts, Cruz delivers a raw, damaged subtext that truly resonates.

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2025-02-17 16:48