Review: ‘Mother, Couch’ starts from there, with an immovable parent, and only gets weirder

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As a film enthusiast with a deep appreciation for surreal and absurdist cinema, I was completely captivated by “Mother, Couch.” This Buñuelian dramedy is unlike anything I have seen before – an original, wholly unpredictable experience that left me both gripped and disturbed.

The Buñuelian dramedy “Mother, Couch” offers a unique, unconventional journey from beginning to end. It’s both absorbing and thought-provoking, challenging our sense of logic and leaving us puzzled at times. This intriguing film is sure to elicit strong reactions with its surreal elements and profound metaphors.

In their directorial debut, Niclas Larsson brings the novel “Mom on Sofa” by Jerker Virdborg to life. The engaging film is primarily set in Oakbeds, a disorganized yet cozy furniture store. An elderly woman, portrayed by Ellen Burstyn, dressed in a 1960s wig and referred to as Mother, has taken residence on a showroom couch and shows no signs of moving.

As a seasoned storyteller with a knack for deciphering complex family dynamics, I’d like to offer my take on this passage based on my own experiences with my eccentric and stubborn elderly mother.

As a film enthusiast, I’d rephrase it like this: In the intricately woven narrative of “Waves,” Bella, played by the talented Taylor Russell, emerges as the moral compass of the story. She is the daughter of Oakbeds’ unpredictable co-owners, Marcus and Marco, portrayed brilliantly by F. Murray Abraham in a dual role. Initially, I saw Bella as the heart and conscience of the piece, working diligently to help David and his siblings navigate their predicament. However, her actions and intentions soon proved as complex and nonlinear as the story itself. This intriguing layer only added to the film’s unique, surreal, and eccentric character.

As a film enthusiast, I’ve recently come across a captivating story about three estranged half-siblings: David, Gruffudd, and Linda. Each of us has a unique father, yet we share an intricate and challenging family history. Our past is filled with troubling memories, most notably our complex relationship with our difficult mother.

David discovers some unpleasant realities about his mother’s life, her dislike for raising children, and her failed romantic experiences. If there was any doubt before, Mom clearly solidifies her role as a selfish, manipulative, possibly unchangeable influence. And even at 91, Burstyn delivers her complex character with unflinching dedication, proving once again why she’s a remarkable actress.

As a working parent myself, I can relate to the overwhelming feeling of having too much on one’s plate. The added pressure of juggling family demands, especially from a loving but demanding spouse and young children, can be both exhausting and rewarding. However, in the case of the movie described, I felt that these moments with family seemed more like an afterthought rather than an essential part of the storyline.

In the North Carolina-produced movie, events unfold just like in real life dreams or nightmares, gradually becoming more strange and cryptic. The culmination is a thrilling, skillfully crafted finale that offers the most clear-cut perspective on the film’s family theme (essentially, learning to let go), despite leaving many aspects open to interpretation.

Larsson skillfully directs his stellar cast and intricately mirrored plotlines in this film, showcasing both assuredness and creativity. He’s an emerging director worth watching closely. This is an impressive first work.

Some people might find “Mother, Couch” a fascinating and pensive watch, with its enigmatic elements potentially leading them to re-evaluate the film’s hidden meanings. However, those with less tolerance for complexity or who prefer more straightforward narratives may want to consider skipping it.

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2024-07-18 18:09