I did not know what to expect when I walked into Mother Couch, directed by Niclas Larsson, at TIFF 2023, yet I managed to get something truly unique. The film is a disorienting blend of domestic drama and psychological horror, featuring an ensemble cast led by Ewan McGregor and Ellen Burstyn. It is an adventure into madness, and even though it does not ultimately work, it is still a marvel to behold.
The premise is as intriguing as it is bizarre. McGregor plays David, the youngest of three siblings, who finds out that his Mother (played by Burstyn) has decided to park herself on a couch in a furniture store and refuses to leave. No explanation is given, and despite the odd nature of this situation, it is played oddly straight.
This sets off a chain of events that brings the dysfunctional family together, including David’s older half-siblings Gruffudd (Rhys Ifans) and Linda (Lara Flynn Boyle). The family dynamics are further complicated by Taylor Russell, who plays a furniture store employee, and F. Murray Abraham in dual roles that add a layer of quirkiness to the narrative.
“Mother Couch is an adventure into madness, and even though it does not ultimately work, it is still a marvel to behold.”
Mother Couch‘s tone is its most puzzling element. It oscillates between a domestic drama and a psychological thriller, often leaving the audience unsure of what to expect next. Christopher Bear’s electronic score adds to the unsettling atmosphere, making you feel like a jump scare could happen at any moment. However, This tonal inconsistency is the film’s strength and weakness. It keeps you on the edge of your seat but leaves you wondering what the film is trying to be, never truly satisfied.
Ewan McGregor’s performance is the major highlight of Mother Couch, working as the glue that holds the film together. He portrays David as a man on the edge, juggling familial responsibilities while dealing with his own internal struggles. McGregor’s nuanced acting almost makes you forget the film’s narrative shortcomings. Ellen Burstyn, too, delivers a compelling performance as the complex mother, her actions and words leaving you guessing about her mental state or the shape of the reality you are watching.
But where Mother Couch stumbles is in its execution. The film’s pacing is erratic, and the editing choices sometimes feel jarring. Scenes end abruptly, and the narrative jumps from one sequence to another without much coherence. This lack of fluidity is exacerbated by the script, which, despite its intriguing premise, fails to provide a satisfying resolution. The film’s descent into surrealism feels forced, and the dramatic metaphors it attempts to employ most of the time simply don’t land.
“Ewan McGregor’s performance is the major highlight of Mother Couch, working as the glue that holds the film together.”
The supporting cast, including Rhys Ifans and Lara Flynn Boyle, do their best with what they’re given. Boyle, in particular, shines in her role, making you wish her character had more screen time. However, the film’s script doesn’t do justice to its first-rate cast, leaving many characters underdeveloped and their motivations unclear. Mother Couch seems so occupied with the weirdness that it does not give the characters room to breathe or grow.
Visually, the film is engaging. Cinematographer Chayse Irvin does an excellent job of capturing the characters’ off-kilter world. But a film cannot survive on visuals alone, and Mother Couch ultimately feels like a missed opportunity.
Mother Couch is a perplexing cinematic experience. It boasts an excellent cast and an intriguing premise but falters in its execution. The film’s tonal shifts and narrative inconsistencies make it a challenging watch, but the performances are compelling enough to keep you engaged. It’s a film that, much like its characters, is caught in a state of existential confusion. Whether that’s a good or bad thing is up for debate, but one thing’s for sure: Mother Couch will leave you with more questions than answers.
