Film Review: ‘Mother’s Instinct,’ a psychological thriller that keeps you guessing until the end
Anne Hathaway plays "the perfect mother" in this 2024 psychological thriller in a remake of a French film, which itself was a novel adaptation
Updated 10 May 2024
Jasmine Bager
Anne Hathaway has played many roles over the course of her career: a surprise princess, an assistant to a fashion magazine editor, a recovering addict, Cat Woman. In “Mother’s Instinct,” she plays a mother — the perfect mother.
In this 2024 psychological thriller — a remake of a French film which itself was a novel adaptation — Hathaway is joined by Jessica Chastain. The two play best friends who are living the American dream.
They are next-door neighbors. Their husbands are the best of friends, as are their eight-year-old sons. They live in an affluent neighborhood in cookie-cutter 1960s’ suburban America. Everything seems idyllic.
The film begins with Celine’s (Hathaway) birthday. Alice (Chastain) and the women’s husbands throw a surprise backyard party. Celine receives a pearl necklace, a joint gift from their family and friends. It’s a wonderful celebration.
But the next day, there’s a tragic death.
One of the young boys falls from a balcony under suspicious circumstances. At the time, he was being supervised by the other mother.
The film forces us to ask: How can a mother live with herself after she entrusted her son’s life to her friend? Could anyone forgive themselves? Could they forgive their friend?
By mid-film, there are still two mothers — but now one is childless. The one whose son has survived feels guilt. The one who lost her boy feels fury. Both feel grief.
As the story unfolds there are more deaths and we begin to wonder: Did one mother deliberately harm the other’s son? Who is innocent here? Who is evil? Was it an accident or a deliberate act? And who will die next?
Events become more sinister. Nothing seems perfect anymore. Even the beautiful pearl necklace ends up broken on the floor, the tiny gems rolling around chaotically.
First-time director Benoit Delhomme does a good job of leading our eyes where he wants them to go. The cinematography is beautiful, while the styling and outfits are divine.
This film keeps you guessing until the end. And there is no happy ending; sometimes, the happy ending is that there is one at all.
REVIEW: ‘Time Cut’ — modern twist on classic slashers ends up disappointing
Netflix time-travel caper is a little light on substance
Updated 07 November 2024
Matt Ross
LONDON: In case you missed it, slasher films are back! Sure, it’s not quite that late Nineties/early Noughties heyday of “Scream” and “I Know What You Did Last Summer,” but they’re back, nonetheless. Because it’s 2024, though, the humble slasher now rarely exists in its original form. Rather, an increasing number of writers and directors are fusing the tropes of classic slasher films with other genres. “Freaky” added body-swap magic to the mix, “Happy Death Day” was part-slasher, part-“Groundhog Day,” and “It’s A Wonderful Knife” blended Christmas classic with horror comedy.
So it’s no real surprise to learn that Netflix’s uninspiringly named “Time Cut” is a time-travel-meets-slasher-meets-nostalgia-romp which sees “Outer Banks” star Madison Bailey play Lucy, a high-school student inadvertently transported back in time to 2003, just days before her sister Summer (“Ginny & Georgia” star Antonia Gentry) was murdered by an unknown serial killer.
Director and co-writer Hannah MacPherson (working with “Freaky” and “It’s A Wonderful Knife” writer Michael Kennedy) leans heavily into the nostalgia, draping the smalltown-America setting with velour tracksuits, Sony Discmans and a soundtrack that includes Vanessa Carlton, Wheatus, Hilary Duff, Avril Lavigne. And dial-up modems, much to Lucy’s disgust. There’s a joke or two to be had at the foibles of the time period, but, to be honest, the world was pretty good back then, so some of the more pointed sneers feel a little unnecessary.
And it’s not MacPherson’s last odd decision. Despite the best efforts of the two fairly likable leads, “Time Cut” feels largely populated by cookie-cutter characters who represent the worst of some pretty dated stereotypes — sending up boorish jocks, disconnected parents and cliquey high schoolers feels a little mean-spirited.
And, for a film with a surprising amount of attention on the mechanics of time travel, there seems scant regard for how it actually works. Rather, there’s a series of unimaginative (and relatively tame) kills, a predictable villain, and no real big idea — unless you count ‘Wouldn’t it be funny to send a teenager from 2024 back to a time when her iPhone doesn’t work?’
Saudi films in the spotlight as RSIFF announces Arab Spectacular selection
Updated 06 November 2024
Arab News
DUBAI: The Red Sea International Film Festival (RSIFF) unveiled a five-film collection for its Arab Spectacular section, which features world premieres of three Saudi titles exploring societal changes in the Kingdom.
Antoine Khalife, director of Arab Programs & Film Classics for the RSIFF, said in a statement: “We know that our stories and the quality of the way we tell them deserve a place alongside other international films, which is why we are working hard to support and nurture our region’s filmmakers, providing them with a prestigious platform to present their work to international audiences, and facilitating networking opportunities with industry leaders.”
Among the Saudi films is “My Driver and I,” the directorial debut of Saudi creative Ahd Kamel. Set in 1980s and 90s Jeddah, the film follows a rebellious Saudi girl and her Sudanese driver as they form a friendship which is tested when she starts to take the wheel.
“Hobal,” by Saudi director Abdulaziz Alshlahei, follows a Bedouin family whose members are forced by its patriarch to live in isolation in the desert due to fear of an infectious disease during the 1990s.
The third Saudi film to screen in the section is the much-anticipated “Lail Nahar,” directed by filmmaker Abdulaziz Almuzaini, who is behind popular Saudi TV series and movie “Masameer.” When a renowned opera singer faces backlash after a viral accusation of racism, he stuns the public by announcing plans to marry a black woman — only to scramble for a bride and find an unexpected connection with Layl, a wedding singer.
Rounding off RSIFF‘s Arab Spectacular selection is renowned Algerian filmmaker Merzak Allouache’s dramedy “Front Row,” about a feud that breaks out between matriarchs who are vying for the best spot at the beach; and Egyptian director Omar Bakry’s “Abdo & Saneya,” a silent, black-and-white film about an Egyptian couple who immigrates to New York City in search of a cure for infertility without having any notion of modern American life.
Saudi Arabia unveils major film production hub in Riyadh
Al-Hisn Big Time Studios to boost local, regional content creation with advanced production resources
Project area covers 300,000 sq. meters and includes a production village with metalworking and carpentry workshops, as well as costume design facilities
Updated 05 November 2024
Rahaf Jambi
RIYADH: Saudi Arabia unveiled Al-Hisn Big Time Studios in Riyadh, a groundbreaking facility aimed at boosting the television and film production industry across the Middle East.
Chairman of the General Entertainment Authority Turki Al-Sheikh inaugurated the facility west of the Saudi capital.
Al-Hisn Big Time Studios, built in a remarkably short period of 120 days, features seven studio buildings covering an area of 10,500 sq. meters.
The total project area covers 300,000 sq. meters and includes a production village with metalworking and carpentry workshops, as well as costume design facilities.
Additional amenities include luxurious suites for VIPs, offices for film production, and fully equipped editing rooms, all creating an ideal work environment that enhances production efficiency.
Al-Sheikh said: “Al-Hisn Big Time Studios will become a stronghold for producing Arab and international content, particularly Saudi productions.”
He further emphasized the importance of local content consumption, saying: “Approximately 65 percent of the content consumed in the region is from Saudi Arabia.”
Al-Sheikh also highlighted the collaborative nature of the project, mentioning that productions will take place at various locations, including Diriyah Jax, Sony Studios, AlUla, and MBC Studios in Al-Nargis.
He added: “We constructed these state-of-the-art facilities in just four months, showcasing our commitment to rapid development.”
Minister of Information Salman Al-Dossary remarked on the opportunities presented by Al-Hisn Big Time Studios, saying: “You will not find a better place than this in the Arab world.”
He praised the integration of government agencies, stating: “Our collective efforts ensure the success of the project, positioning it as a beacon for the film industry.”
The studios aim to provide a comprehensive platform for film and television production, offering creative resources in one location.
“This integration will not only reduce costs and save time but also provide access to cutting-edge global technologies,” Al-Sheikh said, highlighting the studio’s potential to enhance competitiveness in the international market.
In the studios, visitors can explore a museum featuring vintage cameras alongside films shot with them. There are also costume rooms where fashion designers craft outfits for various productions.
Additionally, a dedicated building is set aside for pre-production work. The facility has several production studios, with many Saudi companies collaborating on site, from camera manufacturers to actors, all working together to bring creative visions to life.
Nawaf Almutairi, a founding partner of One Shot drone company, is one of the industry professionals using the studios. He expressed enthusiasm about the opportunities presented by Al-Hisn, saying: “This facility allows us to push the boundaries of aerial photography and filmmaking.”
His company has completed various projects in Saudi Arabia, notably contributing to the third installment of the film “Welad Rizk” with their custom-built drones.
Almutairi said: “We are excited to create innovative content that showcases the beauty of our country."
Abdulrahman Alnafisah, general manager and co-founder of Nebras Films, said: “Saudi Arabia has seen significant advancements in the media and film production sector, fostering growth both locally and regionally. In this transformative landscape, Nebras Films played a key role in the launch of Al-Hisn Big Time Studios, marking a pivotal moment in the evolution of Saudi cinema.
“This initiative underscores Nebras Films’ commitment to bolstering the Saudi film industry and nurturing local talent by creating a professional environment that aligns with international standards.”
Review: Apple TV’s ‘Before’ is a showcase for Billy Crystal
Creepy drama gives the famed comic a chance to show his serious side
Updated 31 October 2024
Matt Ross
LONDON: There are many unsettling things about Apple’s new psychological drama “Before”, but first among them is the sight of star Billy Crystal playing it absolutely straight — and not, as you might suspect, in a way that would enable the iconic funnyman to play it so seriously that it’s almost funny.
Here, Crystal is child psychologist Eli Adler, a gifted doctor struggling to come to terms with the recent suicide of his wife, Lynn. Not many laughs there, you’ll agree. While Eli is dealing with visions of Lynn, and recurring nightmares of hurling himself into an empty swimming pool, he finds a troubled young boy who won’t speak, scratching his hands bloody attempting to break into Eli’s house.
Eli’s colleague Gail (Sakina Jaffrey) has been trying to convince him to take on a new case — one of a troubled young boy who won’t speak and is plagued by horrifying visions. Before you can say “contrived coincidence,” we learn the two boys are, in fact, one and the same. What are the chances?
As Eli begins to investigate what led Noah (Jacobi Jupe) to stop speaking and start drawing creepy pictures of an abandoned barn — the same barn Eli finds in a picture among his wife’s things — the as-yet-unrevealed link between the two begins to solidify. With two episodes broadcast (of the 10 scheduled), the story behind whatever brought Eli and Noah together looks set to be eked out across the limited series, but writer/creator Sarah Thorp doesn’t hold out on audiences too much. So while there’s still a lot of hinting at seemingly unconnected elements — Noah’s visions of water leaking into his reality, his unnerving tendency to lapse into 17th-century Dutch, the often-sinister nature of Eli’s visions of Lynn — there’s enough dangled threads weaving together all of the above that viewers can feel like figuring out the mystery is achievable.
And, wonderfully, the cherry on the top is Crystal, demonstrating a gift for drama that few of his numerous roles ever hinted at. Eli is believably grief-stricken, world-weary and simply exhausted at the strangeness of what’s going on around him. Whatever the mystery at the heart of “Before” ends up being, the real gem here is the discovery of how effective a serious Billy Crystal can be.
Highlights from this year’s ‘Festival Favorites’ at RSIFF
Updated 31 October 2024
Arab News
JEDDAH: The category’s movies are ‘films that stay with the viewer long after the fall of the curtain,’ says RSIFF’s Antoine Khalife
‘Agora’
Director: Ala Eddine Slim
Starring: Majd Mastoura, Neji Kanawati, Bilel Slatnia
The Tunisian filmmaker’s third feature, which was backed by Saudi Arabia’s Red Sea Fund, has already proven to be a winner. At the Locarno Film Festival in August it picked up the Pardo Verde Award, which is “given to a film that best reflects an environmental theme and is unafraid of asking difficult questions.” It centers on a small town where a series of disturbing events that seem to bridge the world of the living and the dead — including the return of three missing people who don’t appear to be quite themselves any longer — has attracted the attention of the authorities. Or, at least, of people claiming to be the authorities.
‘Black Dog’
Director: Guan Hu
Starring: Eddie Peng, Tong Liya, Xin the dog
The winner of the Un Certain Regard prize at this year’s Cannes Film Festival is, according to The Observer in one of many favorable reviews from the international press, a “heartfelt tale of outcast redemption.” Set in the Gobi desert in the northwest of China prior to the 2008 Beijing Olympics — a time when the country was undergoing rapid redevelopment — it follows Lang, a recently released ex-convict (and former stuntman and musician) returning to his hometown, which he finds many people have left and is now home to a large community of stray dogs. One of them — the ‘black dog’ of the title — is rumored to have rabies, and there’s a bounty on its head which Lang decides he will try to collect. But when he actually encounters the dog, his plans change.
British-Indian documentary maker Sandhya Suri’s feature debut — a Hindi-language crime drama — is the UK’s entry for next year’s Oscars and has already received critical acclaim following its showing in the Un Certain Regard section at Cannes this year. It’s a police procedural set in northern India and follows the title character, a young widow, who has taken over her late husband’s job as a police constable. Her newfound independence and power is somewhat negated by her discovery of the institutional corruption and sexism of law enforcement in the area.
‘East of Noon’
Director: Hala Elkoussy
Starring: Menha El-Batroui, Ahmed Kamal, Omar Rozeik
Screen Daily called this — Elkoussy’s second feature — “a sumptuous piece of filmmaking.” It’s a surrealist fable about a teenage musician, Abdo and his partner Nunna, who are looking for a way out of their impoverished town, which offers few prospects of a bright future. But the corrupt elders have other ideas, seeking to crush not just their rebellious dreams, but their spirits.
‘Eephus’
Director: Carson Lund
Starring: Keith William Richards, Frederick Wiseman, Cliff Blake
Set in a small Massachusetts town in the Nineties, “Eephus” follows an team of out-of-shape middle-aged men who play for the Adler’s Paint baseball team as they prepare to face their fiercest rivals in one final game before their stadium is demolished to make way for a new school. Variety called Lund’s movie an “adorably existential, off-kilter take on the sports movie.”
‘Familiar Touch’
Director: Sarah Friedland
Starring: H. Jon Benjamin, Kathleen Chalfant, London Garcia
Friedland’s intensely moving feature debut won the Lion of the Future at this year’s Venice Film Festival. It centers on a beautiful performance by Chalfant as Ruth, an octogenarian who is dealing with cognitive decline while transitioning to assisted living at a care facility.
‘Freedom Way’
Director: Afolabi Olalekan
Starring: Adebowale Adedayo, Mike Afolarin, Bimbo Akintola
In Olalekan’s fast-paced thriller, three young co-founders of a startup in Lagos struggle to keep their entrepreneurial dreams alive amid corruption, police violence and extortion that affects both them and their customers.
‘The Inevitable Journey to Find a Wedding Dress’
Director: Jaylan Auf
Starring: Yasmin Raeis, Asmaa Galal, Salwa Mohamed Ali
Egyptian social drama. On the eve of her wedding, Warda’s wedding dress is accidentally ruined leading her on a frantic trip around Cairo to find a replacement, accompanied by her best friend. It turns into a journey of self-discovery for Warda — one that causes her to reassess her relationship with the city.
