Over the last two years, the pandemic-stricken brain has begun to echo the mother who came before me as I pondered the possible days of becoming a mother. I was thinking not only about my future, but about her past. Did she feel the same biological appeal to all the babies she saw? Did she walk down the street wondering who I would be? If that version of her was here, would we be talking about the financial and physical stress of taking a baby to this uncertain world?
It seems that I’m not the only one who recently felt pulled in the past. Who was my mother of age? Has emerged as a common pandemic era theme from television and filmmakers around the world. In particular, three recent projects use very similar time travel plots to expose threads that weave over time and connect with mothers of previous generations. The tones and styles are very different, but each one is centered around the same assumptions. In other words, we instinctively long for a concrete connection with a mother of our age.
Each is centered around the same premise. In other words, they are instinctively anxious for a concrete connection with their mother, just as they were at our age.
Céline Sciamma’s Petit MamanWith its simple forest setting and refreshingly short execution time, it’s small and miraculous. After the death of her grandmother, eight-year-old Nelly (Josephine Sants) and her parents head to her grandmother’s house to dispose of her old belongings. Here, Nelly sleeping in her bedroom as her mother’s childhood, she begins to feel she is drawn into the past. She is fascinated by the old paintings of her mother. She wants to know more about how she spent her time in the woods.
And after hearing her mother seeing a leopard in the shadow on the edge of the bed every night, Nelly imagines it herself. Who was her mother as a child? What kind of game did she play? What was she passionate about? What was she afraid of? Then Nelly meets her 8-year-old mother (Gabriel Sans), who is building a fort in the woods. They build fierce friendships.
Siama’s delicate time travel reflects the clarity of the child’s imagination. Nelly never gets confused by the appearance of her young mother. Rather, it seems to be the most natural thing in the world. In many ways, that’s what we wonder when we were children. “If I meet my mother [we were both] 8 years old, what about our relationship? Siama Hollywood Reporter.. “Will she be my sister? Will we be friends? Do we share the same father? All sorts of them.”
Jia Ling Hello mom (Nǐhǎo, LǐHuànyīng)The highly successful Chinese movie in 2021 features a similar mother-daughter time travel plot. 19-year-old Ling (Jia Ling) feels disappointed with her mother, Ying (Liu Jia). She is extraordinarily smart and not as beautiful as ever. She feels she is unobtrusive. When her car accident threatened her mother’s life, Lynn suddenly realized in 1981, a year before her birth, that her mother had mistaken her for a cousin outside the town. They became fast friends, and Lin decided to “make her happy” at any cost of her, despite Inn’s protest that she loves her life as it is now. Did. (I’m not going to ruin the ending, but it’s enough to say that the story of time travel is in the hands of Jia Ling.)
Here, Nelly, sleeping in her mother’s childhood bedroom, begins to feel drawn into the past.
Recently in Netflix Season 2 Russian dollNadia (Natasha Lyonne), new Marmot day In the Season 1 time loop, board six trains and disembark in the mother’s very pregnant body. Below is the story of time travel Heizink, where Nadia tries to correct her past mistakes. Ultimately, like most time travel plots, everything needs to be “reverted” to avoid space and time collapse. Nadia can’t change her present, but her time journey doesn’t leave her empty-handed. After her lifelong resentment, Nadia finally begins to accept her imperfect mother about who she is.
Like Nelly and Lynn, Nadia finds herself reaching for past versions of her mother. She knows the people she knows, she sees what she sees, and she wants to feel the emotions she feels. Russian doll Nadia literally reads this urge. Rather than just getting along with her younger version of her mother, Nadia literally slips into her skin and roams through it.
But by using the time travel metaphor, these three filmmakers can take a metaphorical idea and perform tricks that go beyond turning it into an on-screen visual reality. I can do it. By introducing these mothers and daughters to each other at the same age and stage of life, they put everything on an equal footing. Suddenly, the imbalance caused by age, experience, and the mother’s actions themselves disappears. My daughter is no longer ketchup. The pair is no longer in sync. The bond between them now remains in a much purer form.
And over time, a reversal will inevitably occur.
By introducing these mothers and daughters to each other at the same age and stage of life, they put everything on an equal footing.
of Petit Maman, Nelly is anxious to comfort the lonely Marion. When she returns to the present, she will return armed with something of her mother’s instinct. She finds her mother, now a fully grown-up adult, sitting on her floor and crying. She comforts her and instead of calling her her “mother”, she calls her “Marion”.
of Russian dollNadia’s Journey of Time has also forced her to take on the role of mother for her mother. Her instinct is to modify her things for her mother, that is, to take care of her mother, while living on her mother’s skin. In an attempt to regain her family’s lost fortune, she wants her mother to live her life as she feels right for her. And then, when she lives on her grandmother’s skin, she literally becomes her mother’s mother, playing as her childhood.
of Hello momThe lines are so blurry that Lin even suggests “becoming the mother of the next life.”
“No, in the next life I will be a mother,” Inn replies.
The mother-daughter relationship, which all three projects seem to suggest, is cyclical rather than linear. From time to time, the daughter will be the mother.