Film Review: ‘Mother’s Instinct,’ a psychological thriller that keeps you guessing until the end

A scene from “Mother’s Instinct” showing Anne Hathaway and Jessica Chastain as mothers in the neighborhood. (Supplied)
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Updated 10 May 2024
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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

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: ‘F1: The Movie’ — high-octane entertainment and old-school charm

Updated 26 June 2025
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REVIEW: ‘F1: The Movie’ — high-octane entertainment and old-school charm

DUBAI: There’s a moment in “F1: The Movie,” where you’ll feel like you're flying, all while strapped into a tiny metal box hurtling at a speed you can't comprehend. This is when you realize this isn’t just another sports drama; it’s a sleek love letter to Formula 1, anchored by Brad Pitt’s enduring star power and a surprisingly effective dynamic with relative newcomer Damson Idris.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by FORMULA 1 (@f1)

Pitt plays Sonny Hayes, a grizzled former driver lured back to the thrills of the pit lane for one last go. He’s all swagger and scars, but yes, he’s still got it. Pitt’s presence brings gravitas to a film that flirts with the edges of cheesiness but never forgets its emotional core. Whether he’s behind the wheel or delivering motivational growls in the garage, he sells it — and then some.

Opposite him is Idris as Joshua Pearce, a rising star struggling to reconcile his love for the sport with the noise that comes with the fame and money, who becomes Sonny’s reluctant protege. Idris brings a fresh, fiery intensity that balances Pitt’s seasoned cool. The strained mentor-mentee trope has been done to death, but it’s portrayed with sincerity and the right amount of tension here.

Additionally, Kerry Condon delivers a sharp, emotionally solid performance as the team’s no-nonsense engineer, anchoring the high-octane chaos with quiet authority. Her scenes with Pitt crackle with wit and chemistry, and deliver some of the bigger laughs.

Director Joseph Kosinski (“Top Gun: Maverick”) brings his signature high-octane style to the film, especially the race sequences. The sound design is impeccable, the cinematography breathtaking. And composer Hans Zimmer's layered, gorgeously synth-drenched background score goes well with a soundtrack that thumps out rock one minute and smooth R'n'B next.

The film builds toward a final showdown in Abu Dhabi, and while the climax is predictable, it’s executed with such unapologetic flair that you can’t help but cheer. The Yas Marina circuit has never looked more cinematic — it’s the perfect backdrop for a finish that’s equal parts cheesy and thrilling.

“F1” isn’t rewriting the sports-movie playbook, but it really doesn’t need to. It’s crowd-pleasing, adrenaline-fueled, masterfully executed entertainment with more than enough heart to keep it grounded. 


Kneecap ‘welcome’ at Glastonbury

Updated 25 June 2025
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Kneecap ‘welcome’ at Glastonbury

  • Irish hip-hop trio have publicly spoken out against Israel’s war on Gaza
  • Some UK politicians, including PM, want group to be axed from iconic festival

LONDON: Irish hip-hop trio Kneecap are “welcome” at the Glastonbury music festival despite objections by UK Prime Minister Keir Starmer, the event’s co-organizer has said.

The band, which have publicly spoken out against Israel’s war on Gaza, are scheduled to play at the iconic British festival this week.

Member Liam Og O hAnnaidh, 27, was charged with a terrorism offense last year after allegedly displaying a Hezbollah flag at a show in London. The band said the charge was a “distraction.”

Some politicians, including opposition Conservative leader Kemi Badenoch, have called for the trio’s performance at Glastonbury — set for Saturday — to be axed. Starmer this week said Kneecap’s presence at the event would not be “appropriate.”

Emily Eavis, Glastonbury’s co-organizer, told the BBC: “We’re just focusing on bringing the best festival to the people who want to come here … We remain a platform for many, many artists from all over the world and … everyone is welcome here.”

Kneecap responded to Starmer in a social media post, saying: “You know what’s ‘not appropriate’ Keir?! Arming a f***ing genocide.”


Rachel Zegler stands by support for Gaza despite backlash

Updated 25 June 2025
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Rachel Zegler stands by support for Gaza despite backlash

DUBAI: US actress Rachel Zegler has responded to the backlash she received for speaking out in support of Palestine, saying, “Nothing is worth innocent lives.”

The “West Side Story” star, who played the lead in Disney’s 2025 live-action remake of “Snow White,” came under fire during the film’s press tour for her political posts about the war in Gaza. In a new interview with i-D, she addressed the vitriol she faced — not just for her stance on Palestine, but also the widespread online narrative blaming her for the film’s poor box office performance.

Zegler pushed back against the idea that actors should stay silent on humanitarian issues for fear of professional fallout.

“I can really only echo Hannah Einbinder in saying that a platform becomes a responsibility, and that responsibility is ours to use as we please,” Zegler said, referencing the “Hacks” actor’s powerful remarks at a Human Rights Campaign dinner earlier this year, in which Einbinder criticized Israel’s assault on Gaza and emphasized the need for public figures to speak up.

“My compassion has no boundaries, is really what it is, and my support for one cause does not denounce any others. That’s always been at the core of who I am as a person. It’s the way I was raised,” Zegler continued.

“There are obviously things that are at stake by being outspoken, but nothing is worth innocent lives. My heart doesn’t have a fence around it, and if that is considered my downfall? There are worse things.”

In August 2023, “The Ballad of Songbirds & Snakes” actor expressed support for Palestine when she shared the first official “Snow White” trailer on X. She thanked her fans for their support, before adding in a separate post: “And always remember, free Palestine.”


Lebanese dance troupe Mayyas take to the stage with Beyonce

Updated 24 June 2025
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Lebanese dance troupe Mayyas take to the stage with Beyonce

DUBAI: Lebanese dance group Mayyas, winners of Season 17 of “America’s Got Talent,” once again shared the stage with US singing sensation Beyonce for her Paris show of the “Cowboy Carter Tour.” The troupe performed alongside her during “Protector,” stepping in for her usual dancers.

“Honored to share the stage for the second time with the Queen,” posted the group on Instagram after the show on the weekend.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by The Mayyas (@mayyasofficial)

Choreographer Nadim Cherfan also took to Instagram to talk about the significance of the show.

“Proud to witness my choreographies come to life on the world tour of the biggest star of the century - @Beyonce - a dream turned reality on the global stage. During the darkest days of war in Lebanon, when everything around us felt like it was falling apart, we turned to creation. In silence and uncertainty, I poured my soul into these choreographies — never knowing they would one day shine on the biggest stage in the world.

“To the incredible dancers @mayyasofficial who stood by me through the chaos, your dedication and strength are etched into every step. This is our victory,” he added.

The Mayyas previously performed alongside Beyonce at the opening of Atlantis The Royal in Dubai in 2023.

“Beyonce has been my dream since I was a child,” Cherfan said in an earlier interview with Arab News. “She is the artist of my life, and working with her made my dream come true. Since then, it has been really hard to work with any other artist because, as we all know, the queen has set the standard really high. It was an experience I will never forget.”


Review: Toronto Arab Film Festival screens searing ‘Arze’

Updated 24 June 2025
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Review: Toronto Arab Film Festival screens searing ‘Arze’

DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.

The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.

 

 

On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.

Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.

 

 

Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.

In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.