Mother
Mother Movie Reviews
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Blog Posts That Mention Mother
Fantastic Fest 2025: Mārama, Mother of Flies, Bulk
Venice Film Festival 2025: The Smashing Machine, Kim Novak’s Vertigo, The Testament of Ann Lee, Father Mother Sister Brother
Fantasia 2025: Mother of Flies, The Virgin of the Quarry Lake, Foreigner
Cannes 2025: The Mastermind, Young Mothers
Remembering Jan Dawson, My Mother-in-Law (Twice)
Albert Brooks Enriches Criterion Collection with “Real Life” and “Mother”
What My Mother Didn’t Tell Me About College
The Unloved, Part 125: Mother Night
The Unloved, Part 119: Our Mother’s House
Must-See Jean Eustache Film Series Led by 4K Restoration of The Mother and the Whore
The Movie AIR Celebrates Michael Jordan’s Mother
Tiny Beautiful Things is a Tear-Jerking Exploration of the Mother Wound
How Riding in Cars with Boys Captures Single Motherhood
Sundance 2023: Onyx the Fortuitous and the Talisman of Souls, Run Rabbit Run, In My Mother’s Skin
How a Mother’s Love Transformed a Nation and Inspired a Movement
Cannes 2022 Video #2: The Mother and the Whore, Armageddon Time, The Eight Mountains, EO
Eyes of Her Mother: Charlotte Gainsbourg on Jane by Charlotte
The Gift of Being Able to Hear Her Voice: Aunjanue Ellis on Playing the Williams Sisters’ Mother in King Richard
Walking in My Mother’s Shoes
TIFF 2021: You Are Not My Mother, Zalava, DASHCAM
Venice Film Festival 2021: Parallel Mothers, The Power of the Dog
My Mother’s Stories: Michael Koresky on Films of Endearment
Sundance 2021: How It Ends, Mother Schmuckers
TIFF 2020: True Mothers, Limbo, Another Round
Why I Wrote Stagecoach Mary and Mother Amadeus
Alone in the Dark: Sady Doyle on Dead Blondes and Bad Mothers
An Ode to Pedro Almodovar’s All About My Mother on Its 20th Anniversary
Sundance 2019: Late Night, I Am Mother
Mothers Doing the Extraordinary: Peter Hedges on Ben is Back
Hitting the Mother Lode: The Oscar Race Embraces Its Maternal Side
Venice Film Festival 2017: “mother!,” “Jim and Andy”
Tribeca 2016: “Mother”
Bringing My Mother Back From the Dead: Jacob Bernstein on Nora Ephron and “Everything is Copy”
Jane Birkin and Charlotte Gainsbourg: Like Mother, Like Daughter
Sundance 2016: “The Eyes of My Mother”
A Real Modern Family: The Working Mother on TV
At the Movies With My Mother
A Mother-Daughter Act: Shari Springer Berman and Robert Pulcini discuss “Girl Most Likely”
“Helicopter.” A film about his mother’s death
He’s his mother’s right arm. And her left.
A boy’s best friend is his mother
Slapped by the Hand of Mother Nature
“Stranger Things” Sets Up Its Endgame with Quartet of New Episodes
Reflections on the 2025 Tailinn Black Nights Film Festival
No Good Deed Will Go Unpunished: Kleber Mendonça Filho and Wagner Moura on “The Secret Agent”
Swan Song: Udo Kier (1944-2025)
Felt More than Heard: Nathan Johnson on Composing his Third “Knives Out” Movie, “Wake Up Dead Man”
It’s The Funniest Shit: Hikari on ‘Rental Family’
Right Now, It’s Important: An Ode to S.E. Hinton’s Teenagers
A Source of Inspiration: Elle Fanning and Stellan Skarsgård on “Sentimental Value”
We Live in Time: Joachim Trier on “Sentimental Value”
Netflix’s “Last Samurai Standing” is One of the Best Action Shows of the Year
No Other Land: Surviving a Crushing Machine
Tokyo Film Festival 2025: “Sato and Sato,” “Blue Boy Trial,” “Poca Pon,” “Blonde”
You’re Living Intrusive Thoughts: Jennifer Lawrence and Lynne Ramsay on “Die My Love”
Flying with Her Angels: Diane Ladd (1935-2025)
The Most Movie Moment: Aiyana-Lee on Getting a Surprise DM from Spike Lee and Filming Her First-Ever Movie Scene with Denzel Washington
The Real Monsters: How True Crime Has Shaped the Horror TV Genre
CIFF 2025: One Golden Summer, Before the Call, Adult Children, Only Heaven Knows
CIFF 2025: The Book of Sijjin & Illiyyin, The Holy Boy, Anything That Moves
CIFF 2025: The Beauty of the Donkey, The Eyes of Ghana, Below the Clouds
CIFF 2025: “Wind, Talk to Me,” “Brand New Landscape,” “The Girl in the Snow”
Season 2 of Netflix’s “Nobody Wants This” Keeps the Formula With Some Improvements
CIFF 2025: Silent Friend, Calle Malaga, Belén
HBO’s “IT: Welcome to Derry” Feels too Much Like a Sideshow in the Stephen King Circus
CIFF 2025: The Stranger, Franz, Kontinental ’25
How to Define Freedom: Nia DaCosta on “Hedda”
Chaz Ebert to Participate in Two Upcoming Events in Public Libraries
11 Times That D’Angelo Made a Movie Better with his Music
In Mubi’s “Hal & Harper,” Cooper Raiff Has a Hard Time Growing Up
The 11 Best Body-Swap Movies, Ranked
William Fichtner Transforms AMC’s “Talamasca” Into Something Worthwhile
I Wanted Them to Be Weird: Director John McPhail on Mixing Genres and Encouraging Actors in “Grow”
NYFF 25: The Currents, Gavagai, Is This Thing On?
Some Things You Consume, Some You Experience: Mary Bronstein on “If I Had Legs I’d Kick You”
Netflix’s “Boots” is a Trite Coming-of-Age Tale with a Hollow Corps
NYFF 2025: Late Fame, What Does That Nature Say to You, Barrio Triste
Your Life Matters: Jane Goodall (1934-2025)
What Really Matters is What You Like: “High Fidelity” at 25
Female Filmmakers in Focus: Rebecca Miller on “Mr. Scorsese”
Home Entertainment Guide: “28 Years Later,” “Materialists,” “Superman,” “Jurassic World Rebirth,” More
Why “I’m Still Here” Will Always Be a Powerful Watch
NYFF 2025: The 63rd New York Film Festival Centers Film and Poetry
A Tale of Two Machines: On the First Season of “Alien Earth”
