“Mama”, the director or the Sinai’s first narration feature, proves that the director as a personality observer. Inspired by the stories that I heard from Eastern Eastern Women working in Israel, the movie follows the film (Evgenia Dodina), a housekeeper for a rich family that provides those who left her in Poland. When she imposes an unexpected accident, she discovers that her family does not need her as much as she thought she did. But while “Mama” is a personal study of a wonderful woman, she resorted several times to the melodrami who thrives who undermines where her strength lies.
Above all, the Sinai movie is a social drama, which is concerned with the plight of its economic personalities and is in line with the rights that are rejected for them. Mila appears for the first time in the luxurious household house that she serves. Her position there is clear to the audience through rejection, although gentlely, the way her employers treat. They may claim that she is Kin, but she is clearly maid. She takes condolences in a romantic relationship with another gardener, The Gardner (Martin OGBU). These opening scenes effectively depict the mental state of Mila and show weaknesses.
The tables are turned as soon as the procedure is transferred to the small Polish village where they came. There, Mila is alpha dominant on her husband (Arkadiusz Jakubik) and his daughter (Kaarzyna łubik). Her money is what keeps the three on his feet, as he pays the price of teaching the daughter and building a new house they plan to move to. After spending years to wear herself so that she can withstand the costs of a decent life, Mila reveals herself as a tyrant who always believes she knows better. When she discovers that another woman (Dominica Bedenarkic) replaced her like her love for her husband and her alternative mother for her daughter, she tries to save her platform at the top of the family
Unfortunately, the film displays the plight of Mila in a series of melodramatic situations, which are not consistent with the well -created personality that was “Mama” so far. Melodrama can serve as a way to increase the story, but only when doing it properly. Instead of deepening the character of Mila or showing consequences for her actions, this conspiracy is manifested as a series of decisions that cannot be explained by the protagonist. Before that, there was a heart drama and a confrontation that occurred between her and the other three characters that she had to deal with in Poland. Perhaps there was a better way for the introduction to the conflicts that brew them instead of forcing these complex conditions.
This change is particularly harmful to the daughter’s personality, forcing łubik to spend most of her performance hysterically to her mother’s actions. The scenario also disturbs Bednarczyk, which performs almost silently, but is able to make her personality completely human. When “Mama” becomes more confrontation than the mother and her daughter, that character disappears. OGBU is a sedative and love like “The Love” (the name of the actual character in press notes, and it shows the extent of filmmakers’ interest in this number) but “Mama” waste the opportunity to photograph her only black character as complete dimensions. It only exists to serve the leading character, with the addition of tragedies and color blindness to its features.
In the middle of the movie, Dudina Leader’s performance lies. With a fierce screen rupture and look directly through those who watch, it is affectionate, dynamic and powerful. Milad is complex, accurate, sometimes bitter, and Dudina does not try to ease it at all. Instead, it is fully presented, warts and all. Dodina has never sought the audience’s sympathy, but it was able to lead the utmost sympathy.
Fragile and wonderful cinematic filming in Matan Radin picks up the opening of the rich family in Israel in yellow desert colors. In contrast, the smaller apartments and tranquility that the characters in Poland are served with gray gray lighting. Sinai’s framing for Dodina becomes more restricted as Mila indicates in these cases, the strong filmmaking manufacturing outperforms the contradictions of the scenario.
With “Mama”, many understood the reason for giving the Sinai, the director born for the first time, the Cannes Festival: This is for the first time qualified and interesting. What it lacks in the development of the text, Sinai is more than its compensation with the industry of guaranteed films and successful directions for its main performance.