Mothers’ Instinct review – Anne Hathaway and Jessica Chastain in 60s-set operatic melodrama
The blog discusses a comical and over-the-top drama set in the suburbs of 1960s America, featuring actresses Anne Hathaway and Jessica Chastain. It is likely to gain a following, with midnight showings where viewers can join in with the emotions on screen. The blog suggests it may even deserve a new award, such as the Catfight of the Year Oscar.
The movie titled "Mothers' Instinct" is created by Sarah Conradt and filmed by the well-known cinematographer Benoît Delhomme, who is making his debut as a feature director. The movie is based partially on a French-language thriller called "Derrière la haine" (Behind the Hate) by Barbara Abel and partially on a Belgian film adaptation released in 2018. The main cast includes Hathaway and Chastain who respectively portray Celine and Alice, two well-off housewives who represent the perfect feminine image, much like Betty Draper. They are close friends with similar, idyllic lifestyles, along with a nine-year-old son whom they adore and supportive husbands with stable jobs. However, both women share a dark and tragic past which resurfaces when an unexpected event shocks them. This leads them to irrational behavior, malicious conspiracy theories, and a desire for retribution.
The film concludes with such madness that it's hard to remember the engaging and believable elements of dysfunction and uncertainty introduced in the beginning, especially a plotline involving a child's stuffed rabbit. Nonetheless, as the story progresses to its final chapter, the acting becomes excessively exaggerated and the murderous plots become painfully cringe-worthy. The score features haunting strings, reminiscent of Hitchcock's infamous suspense, yet it fails to capture the dark humor that made his thrilling movies so believable.
The film begins with a serious and shocking tone but ends in a comical way. However, I must admit that Chastain's acting is more believable with a controlled demeanor compared to Hathaway's exaggerated portrayal of being hurt and deserving compensation.
