Exploring Bonds: A Captivating Review of “Mother Mother” – A Somali Drama That Surprises and Engages

Mother Mother takes viewers on an unexpected journey through the intricate landscape of familial relationships, all set against the stunning backdrops of Kenya and Northeastern State, a semi-autonomous region of Somalia. Directed by Warsame and shot by César Charlone, renowned for his work in City of God and The Constant Gardener, the cinematography ambitiously underscores the film’s emotional depth, although at times, the imagery can overshadow the narrative itself.

Initially, I approached this film with skepticism. The promotional stills, highlighting desaturated browns and a protagonist’s face etched with both yearning and sorrow, piqued my interest but also raised red flags. Was I about to witness yet another instance of “poverty porn” showcasing the hardships of Africa? Warsame’s own introduction at TIFF—which emphasized the resilience of Somali mothers facing life’s harsh realities—made me wary. Would this merely be another clichéd portrayal of strong women powered by a male perspective?

However, my reservations quickly evaporated as the plot unfolded, particularly when an unforeseen event thrusts the story into a gripping new direction. Qalifo embodies strength, moving fluidly between the rigorous demands of rural life, from milking camels to crafting vibrant baskets, illustrating her versatility. Her verbal sparring with her son, Asad, brings her true character to light. She speaks bluntly, unfiltered, revealing her love for both her son and the land they cultivate, despite the underlying tensions that characterize their relationship.

At first, the film tempts viewers into a languid pace as it immerses us in its pastoral setting. An authenticity grounds the narrative; we witness Qalifo and Asad engaged in repetitive yet physically taxing tasks inherent to their lifestyle, isolated from any semblance of a neighboring village. Charlone’s handheld cinematography and documentary-style shots provide a visceral experience, although the frequent shifts between extreme close-ups and wide angles can sometimes distract rather than illuminate the characters’ emotional states.

As the story darkens with Asad’s unforeseen trajectory, Ahmed’s portrayal of Qalifo begins to lack the complexity that had previously defined her character. The viewer seeks nuanced expressions that align with the narrative’s increasing poignancy, yet finds a performance that occasionally veers towards monotony.

Warsame, previously known as a hip-hop artist crafting verses rich in political insight, has evolved to pen narratives for television, including works such as Castle Rock and Extrapolations. His musical background shines through in Isobel Waller-Bridge’s score, which amplifies the film’s tension at pivotal moments.

A compelling theme surfaces as Mother Mother grapples with the concept of justice. By delving into the unique customs of Northeastern State, the film explores restorative justice, where communities collaboratively determine consequences for crimes, including murder, rather than defaulting to conventional punitive measures. Qalifo’s innovative response to her son’s plight spirals into a moment of community connection, garnering attention both locally and internationally, eventually landing her an audience with the president of Somalia.

Importantly, Warsame chooses to leave the question of culpability ambiguous, steering clear of straightforward blame. This decision resonates powerfully in today’s cultural climate, which reevaluates systems of policing and incarceration.

By the film’s conclusion, I realized that this is exactly the kind of storytelling I seek at TIFF—narratives that challenge my preconceived notions and reflect the complexities of lives often overlooked. Mother Mother compels me to step back into the sunlight with a renewed perspective.

Grade: B+

“Mother Mother” premiered at the 2024 Toronto International Film Festival and is currently pursuing U.S. distribution.