Just then, a shadowy figure pulls him out of the door, snapping his neck. The kids survive by the fireside and are tossed a cherry by the mysterious figure. Five years later, a rescue party, sponsored by Jeffrey's twin brother, Lucas, find the children alive but animal-like in their behavior.
The kids are put in a welfare clinic under the psychiatric care of Dr. Gerald Dreyfuss. Dreyfuss agrees to support Lucas and his girlfriend Annabel's custody claim against the kids' maternal great-aunt Jean. Dreyfuss is intrigued by the drawings the kids have made of a mysterious character they call "Mama", whom they talk to and play with. During an intimate moment between Lucas and Annabel one night, Annabel is startled by the appearance of a shadowed figure in their bedroom doorway; while investigating, Lucas is attacked by Mama and slides into a comatose state.
Annabel, a punk-rock musician unrelated to the kids, finds herself left alone to care for them while Mama's visits continue. Although Annabel makes progress with Victoria, she finds Lilly hostile. Alarmed by nightmares and a warning about "Mama's jealousy", Annabel asks Dr. Dreyfuss to investigate. A stylized dream which is really a transferred memory set in the 19th century, in which we see a crazed young woman creating bloody terror before leaping off a cliff with her newborn, all of it shown from the madwoman's point of view?
That's a lot more innovative than anything we're likely to see in yet another film about a plodding behemoth in a mask chasing after dumb teenagers through the woods. In the prologue to "Mama," we learn of a shooting at a financial firm after an economic crash. A distraught executive named Lucas Nikolaj Coster-Waldau from "Game of Thrones" arrives home, quickly collects his two young daughters, Victoria and Lilly, and speeds off.
They wind up in an abandoned house deep in the forest, where Lucas apparently intends to shoot his daughters before he can kill himself. Flash forward to five years later. Lucas' brother Jeffrey also played by Coster-Waldau has never given up hope.
His team of searchers finally stumbles on to the very abandoned house we saw a century ago in the nightmare. Dad's long gone, but the girls are still there — covered in mud, making strange noises, crawling on all fours in rapid fashion like wild animals.
How could they have survived on their own? The girls are kept in isolation for a few months as Dr. Dreyfuss Daniel Kash records their every move while ostensibly helping with their assimilation. Given that Victoria keeps making cryptic references to an unseen "Mama" and Lilly sleeps under the bed, gnaws on fruit, twigs and the occasional bug, and screams whenever anyone tries to touch her, the girls hardly seem ready for ice cream, pajamas and bedtime stories, but Jeffrey is determined to give them a normal life.
So Jeffrey and his rocker-chick lover, Annabel Jessica Chastain in a black wig and a tattoo sleeve , take the girls to their new rent-free home, provided by the ever-lurking Dr. Now 92, she was antsy to go back home. The film opens with a second medium shot of Mama Icha sitting in an upholstered armchair. The camera is locked down, and the long duration of the shot forces us to study her face and surroundings.
The elderly woman quietly fidgets and looks distressed. On a side table, we see a phone, water and lotion within reach.
A plastic bag with more necessities hangs from her cane. This, we imagine, is her entire world. Then a church bell rings and the scene cuts to her house in Colombia. The house has fallen into disarray under the care of her son Alberto. Meanwhile her other son, Gustavo, eventually wants to sell the house to pay for her medical bills. Tensions erupt and family ties fray, as the aging matriarch loses control of how and where she will spend her final days.
It tells us how she was dwelling, the small objects around her that she can get with her hand. By that point, Molina had learned how to film his subject best. User reviews Review. Top review. A Fantastic Film Experience. I went into this film with high expectations. I am a horror movie junkie, despite their general lack of critical acclaim. They should be entertaining, even if they don't give you nightmares.
After first viewing the trailer over the summer rolling in for The Possession , I eagerly anticipated the January release. Seeing that Guillermo del Toro's name was attached to the project made me even more giddy. I saw it opening night. I was not disappointed. Not in the slightest. In fact, I was happier with the movie than I intended to be. Believe me, that's saying something. Not one scared by stories themselves, but solely by moments that utilize the element of surprise, I have never jumped out of my skin more times during a single film than I did for "Mama.
However, seeing as different things scare different people, that is most likely not the same for everyone. If you aren't a jumper, don't worry, it's still very much worth it.
The story is not your typical ghost story. It has a terrific exposition to settle you into the film's focus. The situation is solitary enough that you won't yourself experience it, but isn't so far-fetched that it's unbelievable.
The characters are both likable and flawed, which gives them dimension and makes them more interesting.
And the girls are adorable, but not so cute that it detracts from the terror. As you can see, the film is very much balanced. A good film needs that balance. As far as scares go, some are quite subtle.
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