The latest “Mother’s Baby” is designed in Johanna Moder – The Whitriding, Paranoid and Comedic Comedic Comedic at a time when it operates. It is painfully approaching the adherence to the landing, and the decline only in the last minutes through a handful of decisions that it leaks from its decisive power: its ability to be present within an unknown chilling of depression after birth.
In a desperate attempt by the child, the middle -aged orchestra finds Julia (Marie Lewinberger) and her husband George (Hans Lo) themselves at the door of a fictional fertility specialist, Dr. Velart (Clay Pang). The doctor is proud of a high success rate for his advanced ways, and everything seems good as soon as Julia is pregnant-that is, until the day when she gives birth to his own clinic. There seems to be something wrong when her new baby is transported for some emergency treatment before she can keep it, but it is returned the next day without any complications.
Every conversation loaded with exchanges and observations that Julia seems to be noticed as strange. This dye indicates an inevitable mind in the mind of Julia: that the child who is trying hard to breastfeed them, whose name refuses, and who is facing difficulty in contacting it, is not its property. While GERLINDE (Julia Franz Reichter), who is assigned to them by the clinic, makes excessive home calls, George does not seem more wise, as she put pressure on their marriage and caused itching at the back of Julia. These factors are isolated in practice because they paint comparisons between strange behavior for smiling smiling, amazingly calm and Smirking axolotls that you notice in the Vilfort facility. Can there be some contact?
A more clear horror movie may provide answers by getting rid of the protagonist below a rabbit hole of online research, but “Mother’s Baby” is a gesture and suggestion. She floats on her strange ideas through strange events and surreal exchanges with secondary figures who come out of the frame (and the story in general) after presenting its purpose, but its many capabilities are based on the performance of the measuring Leuenberger in a wonderful way. The actress maintains an unstable and fragile balance, even in the ridiculous moments in which the Julia modem brings face to face (in two entertaining shots) with an innocent infant that her presence is torturing her.
The film, sometimes, is funny in the jaw, it even moves into the materials that transform some of the most annoying problems of early motherhood into an Airbi cinematic feed. By putting something in his intersection something that is ethereal and unlimited like the mother’s moment, nourishes love, and deletes it in practice from DNA in Julia, the “mother’s child” provides tension that disturbs the glut, and it also declines satisfaction (and release) from the full transition to as long as possible . It is certain that Bang will direct his role as Dracula from Netflix, where he presented a skillful evil line below each conversation without tilt his hand.
However, where the film stumbles in the climate stampede to provide answers – even abstract answers. The film is the most important when its potential results remain in the distance, through the sites that revolve around the evil curtains that resemble the claw, and through moments of drama that make Julia, and the public, doubts about all the things they see. However, in the end, the “mother’s child” made the strange decision to switch the basic expression method into something more specific and literal (or at least, a literal mentality), although the paper on one cannot be reasonably concluded that it depicts either the full image of reality , Or a complete and complete break from it.
Either way, both of these possibilities are suddenly present on the screen, the story exceeds two educational possibilities on an equal footing when its strengths lie in uncertainty. To sacrifice this feeling in favor of something known to steal the most terrifying venting story. Then again, a lot of the film works to this point is a miracle achievement, which indicates besides Sundance Premiere and his colleagues, the Berlin Competition title “If I have legs, and your place” – indicates an exciting development and motherhood development, towards something more internal and psychological And in this process, violently entertaining.