A scene from 'Mama'

Mama review: TIFF 2025

‘Mama’ is the sharp portrayal of a woman suddenly struck by the impact working abroad has on her role as matriarch.

Mila (Evgenia Dodina) is a Polish housekeeper working in Israel. Her employers are kind, and she is close with the family. She is also in a romantic relationship with the gardener. Mila sends her wages home to her husband and daughter, and is paying to construct a new house for them. However, after an injury, her employers encourage her to go home for an overdue visit. When Mila arrives, she finds that her family hasn’t kept her apprised of the many changes that have happened in her absence. She tries to get everything back on track, but realizes they may not want her to fix things.

While most people are more familiar with stories about men going abroad for work, an increasing number of women are also doing so. Yet, despite the assumed hardships, Mila appears happy with the arrangement. Before she goes home, the audience sees no communication between her and her family. Evidently, when Mila’s employer asks about her daughter, her answer is vague and non-committal. When Mila returns to Poland, there’s an expected uneasiness that casts a shadow over their happy reunion. It gradually becomes clear Mila is the main provider, but her roles as wife and mother are no longer applicable in the traditional sense.

Read the full review of Mama at thatshelf.com

Similar Posts

  • Review: ‘Can You Ever Forgive Me?’ needn’t ask to forgive anything (Includes first-hand account)

    There are certain narratives, which even though they are based on true stories, they are difficult to believe. Generally, these involve the gullibility of those around the protagonist as they are permitted to enact their scheme with little to no resistance. There are people who will continue to push the boundaries until they are firmly stopped; but until then, they will take advantage of any loophole they can uncover to skirt the rules and maintain their ruse. The puzzling thing is it’s almost never a malicious act but rather one of defiance or self-interest. In Can You Ever Forgive Me?, it’s a bit of both.

  • Review: TIFF 2015: Tastemakers Lounge blends fashion and cocktails (Includes first-hand account)

    Each year the Toronto International Film Festival attracts hundreds of celebrities and industry professionals who come to the city to promote their latest projects and discover the newest submissions from their friends and colleagues. But between mingling at parties, posing for the cameras and doing hours of interviews, there’s also a little reverse promotion happening in exclusive lounges throughout the city. One such venue is the 11th annual Tastemakers Lounge, which showcases quality fashion, accessories and libations for the discerning eye and palate.

  • Review: TIFF 2019: ‘Crazy World’ makes its own rules (Includes first-hand account)

    It’s not a secret that mainstream Western films, particularly those produced by the Hollywood machine, follow a generic set of rules that dictate character development, storytelling style, visual specs and cast types. These formulas are being increasingly challenged, but they’re not going anywhere any time soon. Therefore, one of the best ways to have a different film experience is to seek out movies from other countries — particularly those establishing their film industry and culture within the constraints of their country’s resources. Crazy World is a Ugandan action movie made in their unique style with a pre-recorded “video joker” commentary.