Dominique Reymond, Emma de Caunes, Isabelle Huppert

In the sun-soaked Canary Islands, a disturbing and unhealthy relationship develops between 17-year-old Pierre and his mother Helene after his father dies in an auto accident.

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51% liked it

3,582 ratings

Critics

12% liked it

41 critics

NC-17, 1 hr. 51 min.

Directed by: Christophe Honoré

Release Date: May 13, 2005

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DVD Release Date: October 18, 2005

Stats: 278 reviews

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Flixster Reviews (278)


  • October 1, 2009
    French Existentialism. It does my head in! No really, this film is not as clever or as artistic as it thinks it is. Loosely based on a novel by Georges Bataille and ripped to pieces by Christophe Honoré who totally misses the point or at least doesn't understand the meaning (He ...( read more)also thinks by ripping off great directors like Eric Rohmer & Truffaut he is as good as them). This is awkward and unpleasant viewing. So far up its own arse its untrue but if you like the thought of your mum sticking a finger up your arse and making you lick it off then watching you have sex like a horse in a shopping centre, then this film is right up your street. I just hope you don't live down mine! Extra star for the good acting, read the book instead!
  • September 18, 2009
    Pierre is the product of a very unconventional marriage. Both his parents lead promiscuous lives and he spends most of his childhood in a Catholic boarding school. Soon after he returns home, now a young man, his father dies and his mother, undeterred by her husband's death, dr...( read more)aws her son into her perverse lifestyle.

    I'm not sure I'm open-minded enough to fully appreciate Ma Mere. It attempts to titillate by venturing into those dark places where most people feel VERY uncomfortable. If there is a moral to this story it's simply this: "Don't hump your mother". (Frankly, I didn't need an artsy French film to figure that out.)
  • March 24, 2009
    provocative and there's not really a great deal of incest in it so don't be put off by that. it's worth a watch. just a shame about the very rushed and shit ending. i found it funny at times actually. call me crazy but a mother telling her son how much of a slut she is just seems...( read more) hilarious to me! i think there's black comedy in there somewhere if you have a bit of a sick mind
  • October 31, 2008
    This is a movie that needs to be digested post-viewing. Once you get past the incestous overtones you can see the issues the director is trying to comment on such as notions of individual freedom. I still wouldn't necessarily recommend it, but it does have some merit beyond the s...( read more)hock value.
  • August 10, 2008
    "Wrong isn't what we're about to do. Wrong is wanting to survive it."

    A warning: The prospect of Isabelle Huppert starring in a film called My Mother should not put you in mind of rocking chairs, chocolate chip cookies made from scratch, and phone calls home. You'd...( read more) do well to remember that the last time many of us saw this actress, it was in the title role of Michael Haneke's The Piano Teacher, in which she put broken glass in the pocket of a rival and stabbed herself in the chest as a means of getting her young lover's attention. That, it appears, was just a warm-up. Heaven help us if Huppert ever decides to star in "The Mother Teresa Story."

    Photobucket

    In My Mother she plays Hélène, a jaded, luxurious Frenchwoman living in the Canary Islands, where she spends each night in a nihilistic impulse of sex with whomever she can find at local clubs. Her partner in degradation is a young woman named Rea (Joana Preiss); Hélène has a husband (Philippe Duclos) stashed at home, but he's not much in the picture and is soon out of it completely. She also has a 17-year-old son, Pierre (Louis Garrel): dark, leonine, freshly returned from Catholic school, and an Oedipal wreck who lurch between prayers to the Virgin Mary and contests of frenzied onanism not at all related to his mother and her pursuits.

    You may have figured out by now that My Mother isn't for the kiddies. It probably isn't for anyone not interested in the darkest corners of the human psyche, where sexual annihilation is the only response to a fallen world, where all moral bets are off, and where a boy's worst friend is his mother. "The pleasure only begins once the worm is in the fruit," Hélène tells her son as part of his indoctrination in the harsh realities of life. Other catechisms include urging Pierre to have public sex with Rea in a late-night subway station while Mama watches. And we're still only halfway down an extremely slippery slope.

    Directed by Christophe Honoré, My Mother would be merely another in the recent wave of brainiac French sex provocations (Gaspar Noé's Irréversible, Catherine Breillat's Fat Girl, and Haneke's The Piano Teacher) except for a few things. It's based on an unfinished work by Georges Bataille, the 20th-century novelist, essayist, and "metaphysician of evil" whose unstinting pessimism gives the film the rigour it needs to stay just this side of screaming pretentiousness. Garrel is much better here than in Bertolucci's The Dreamers - a puppet show compared with this - and he manages to convey all sides of a very confused boy-man. Honoré and his camerawoman Hélène Louvart keep us continually off-balance with unsettling uses of zooms and chiaroscuro; the visuals are overdone, but to a purpose.

    And there's Huppert, who in her early 50s has become her country's great, gloomy Queen of Darkness - Garbo for an age of post-modern kink. She doesn't act here so much as preside over the film's restless search for obliteration, and she gets you to understand both the carnal desire that has kept Hélène young and the knowledge of the void that has prematurely aged her. (What she doesn't have is any fun, but if that's what you're looking for, French cinema is rarely the place to find it.)

    Hélène disappears during the last third of the film, leaving Pierre in the care and erotic feeding of her apprentice, a pretty young German tourist named Hansi (Emma de Caunes). The two kids play at the edges of the darkness and get sucked in further than they know how to handle, and just as it feels My Mother is losing its way, Huppert returns to take the film soaring outrageously over-the-top in a climactic scene that will probably send the few remaining theatre-goers bolting for the exits, hands clamped over mouths. They must have been thousands. They missed Pierre's final cry of despair, though - an outburst that unexpectedly connects all the dots of this absurd, obscene, oddly powerful experience. My Mother drops the awful hint that we may never connect with another human being besides the one in whose womb we started out. It's as pleasant as having all of your bodily hair plucked out with a pair of tweezers.

    As a mainstream arthouse film, My Mother is an utter failure. As an art piece that'll disturb the hell out of anyone who lays eyes on it, it's as successful as it gets. It will strike at the new Puritanism that has infected America and has seeped into mainstream cinema in other countries as well. That said, it will split the critics and audience alike, 99% call for it to be re-branded as pornography, whilst the other 1% will wax lyrical about its pacing and story, finding the eerie beauty of the setting complementary to the unearthly series of events that unfold. Honestly, I'm not even sure on which side I stand... I just know I love being shocked and dazed, and artful, pretentious French films that are often described as "Eurotrash" do the trick better than most.
  • October 28, 2009
    Aren´t Isabelle Huppert and Louis Garrel tired of playing always the same character/type of role?
    Aren´t french directors tired of the cheap well(badly)-known liberal sex French philosophy?

    Sickness and disgusting.
    Half star for the opening credits on the white background ...( read more)screen. That´s all


  • September 15, 2009
    SPOILER ALERT - I really thought I knew what I was getting with this movie. I knew there was a sexually confused son, back from boarding school who has an odd relationship with his mother. And I knew it was NC-17. And I actually thought most of the movie was pretty B/B- worthy. B...( read more)UT the last 20 minutes or so goes from unconventional, to uncomfortable, to just plain FUCKED Up. And just when I thought it was over, the son jerks off to his dead mom.
  • August 23, 2009
    It lacks a proper and developing potion so it can be revived as a unique work of art.Honore's magic couldn't possibly advance the logic of this project to an erotic masterpiece (perhaps as a commentary to family ties..),Bataille I bet wasn't too insulted by the result,I 'm feelin...( read more)g here though that there wasn't much passion/lust for depravity...
  • April 14, 2009
    A film which, like "Emmanuelle" (1974), features beautiful people in sultry settings, challenging the proscriptions of social mores, "Ma Mère" differs in its narrative sophistication and intellectual arrogance. Isabelle Huppert plays a mother, perhaps past her prime, but still be...( read more)autiful, elegant, eminently desirable, and sufficiently rich to be bored with the need to concern herself with life's trivia.

    Her adulterous husband dies, her son (Louis Garrel) returns from boarding school. They inhabit a lotus eating world in the Canaries. Huppert tires of her sexual experimentation with her own mistress and becomes consumed with desire for her boy. She begins by allowing other women to seduce him, coyly watching, gradually being drawn in to more physical contact.

    It's beautifully filmed, beautifully performed - Isabelle Huppert is outstanding in pretty much anything she does - but you're left wondering what was the point. In fact you find yourself fast forwarding past the sex scenes in frantic search of a story or meaning. Given the quality of the production, you wonder why these resources were squandered on a pretentious shocker and not on the making of a film with real significance.

    Director Christophe Honore has been compared to Catherine Breillat, but "Ma Mère" is a superficial effort to push the boundaries compared to the humanistic sophistication of Breillat. If this is an attempt to demonstrate that Western consumerism and wealth have sanitised us to emotion and feeling, cast us adrift in an anomic state desperate for both meaning and sensation, then it might have been better to explore the themes by setting the story in a run-down tenement block, making the poverty of consumerism that more emphatic. As it stands, "Ma Mère" has its moments, but moves with too turgid a pace to fully engage your sympathy, your attention, or your willingness to believe that it has any significance in exploring human interaction and relationships.
  • August 20, 2008
    Good personal performances, but it's basically just a bunch of sex scenes.

Critic Reviews


July 29, 2005
Mick LaSalle, San Francisco Chronicle

110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess. full review

July 8, 2005
Ty Burr, Boston Globe

Probably isn't for anyone not interested in the darkest corners of the human psyche, where sexual annihilation is the only response to a fallen world, where all moral bets are off, and where a boy's w... full review

July 1, 2005
Liam Lacey, Globe and Mail

The translation from the highly literary to the literalness of film isn't easy and too often, Ma Mère feels like a parody. full review

View more Ma Mere,(Meine Mutter),(My Mother) reviews at RottenTomatoes.com

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