Goodnight Mommy, 2015.
Directed by Veronika Franz and Severine Fiala.
Starring Susanne Wuest, Lukas Schwarz and Elias Schwarz.
SYNOPSIS:
When their mother returns home from hospital, twin brothers Lukas and Elias sense something’s not right. Her face is swathed in bandages after plastic surgery, she doesn’t behave or sound like the mother they remember and they become convinced that she’s an imposter. But who is she? And how are they going to find out the truth?
It all starts idyllically enough. Perhaps too much so. The old footage of the Von Trapp-like family singers, the boys playing in the Austrian countryside near their home in the brilliant sunshine. Then a car delivers Momma (Susanne Wuest) home but, with her head covered in bandages, all both we and the boys can see are her bloodshot eyes, some of the bruises around them and her mouth. Everything else is hidden, even her hair, and in the frequently dim light, she has a ghoulish look.
But this is a strangely cool reunion, striking a discordant note. There’s no displays of affection, no words of welcome and it’s all rather frosty. Perhaps the boys don’t get on with their mother? There’s a definite distance between her and one of them, Lukas, but it doesn’t tally with the twins listening to a recording of her voice wishing them goodnight and singing a favourite song for them. There’s affection and warmth in that voice. Their relationship with Momma becomes even more perplexing when she places demands on the boys, ones they’re not of an age to understand. She needs rest and quiet after her operation but, even though they’re not being intentionally naughty, they’re soon disobeying and her reaction is overly severe. It’s no surprise that the boys begin to suspect that their mother has been replaced by a stranger.
It’s when they decide to find out the truth that the film takes the sinister, wince making turn it hints at from the start. With no soundtrack, the long periods of silence are infused with a distinct edginess. Boys being boys, they’re fascinated by all manner of unpleasant things, so cue the award for Best Insects In A Supporting Role, a collection of the fattest and most revolting cockroaches, stuffed into various containers and figuring largely in at least one skin crawling dream sequence. The boys prepare thoroughly for their interrogation of Momma, even taking into consideration the possibility that she may escape. The one thing they don’t prepare for is knowing when she’s telling them the truth.
As their questioning continues, the boys’ behaviour is increasingly disturbing, emphasised by the obtuse camera angles. The casual cruelty with which they go about trying to discover if Momma is for real or not is even more chilling. They’re old enough to understand that they are inflicting pain, but still young enough not to be able to imagine what it’s like for the other person. Or, in Lukas’ case, to care much.
As an examination of the strength or fragility of the bonds between mother and child, Goodnight Mommy nearly makes it, but not quite. Even if Momma really is their mother, there doesn’t seem to be much in the way of a bond to start with. The boys’ behaviour is more than unsettling enough, but would have far more impact if we knew for sure that she was their mother, or even if she showed them some affection. Will you see the ending coming? Probably. When is another matter.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★
Freda Cooper
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