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 It gradually becomes clear Mila is the main provider, but her roles as wife and mother are no longer applicable in the traditional sense.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
