10th 10 - 2017 | no comment »

Scary Mother (Sashishi Deda, 2017)

Director/Screenwriter: Ana Urushadze

2017 Chicago International Film Festival

By Marilyn Ferdinand

Harlem
What happens to a dream deferred?

Does it dry up
Like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
Like a syrupy sweet?

Maybe it just sags
Like a heavy load.

Or does it explode?
—Langston Hughes

The protagonist of Georgian director Ana Urushadze’s stunning first feature, Scary Mother, is 50-year-old Manana (Nata Murvanidze), a housewife and mother with literary ambitions. Before the film begins, Manana’s yearning to write a novel finally gained the support of her domineering husband, Anri (Dimitri Tatishvili), and her mainly self-sufficient children. She was left alone to write her book in the bedroom while Anri slept in another room and the entire family took over the household chores. The film commences during the family’s excited anticipation of finally hearing the result of Manana’s labors at a private reading in their home. It is at the reading that Manana reveals that her dream deferred didn’t run, fester, or dry up—it exploded like a fountain of lava to rock the family and fracture the foundation of Manana’s life.

Manana and her family live in an ugly, concrete complex of high-rise apartments linked by metal walkways in the Georgian capital of Tbilisi. Despite looking like a literal iron curtain, their building has transformed inside into a setting for comfortable bourgeois lifestyles. However, it is perhaps significant that the productive characters in the film are men. Anri works nights at an unspecified job, stationary store owner Nukri (Ramaz Ioseliani) champions Manana’s book, and Manana’s father, Jarji (Avtandil Makharadze), is translating the work, probably into English, without knowing his daughter wrote it. Thus, Manana’s pursuit of a productive purpose transgresses against another kind of social order. There will be consequences.

There are many pitfalls into which a filmmaker examining creative people can fall—visual metaphors that land too neatly, alcohol flowing too freely, torment and madness too married to the creative impulse. Urushadze, daughter of acclaimed Georgian director Zaza Urushadze, doesn’t entirely avoid these traps—madness does rear its tired head, particularly at the final curtain, and Manana’s anger at her family is made visible when she moves into a room painted and lit in red. What comes more strongly into focus, however, is the unstoppability of Manana’s creative process once it has been unleashed.

Manana knows that her book will be met with resistance and, in a scene of manic brilliance, she speed-reads the opening page as though she can slip the content past her family without their comprehension. She finds anything new in her environment a source for inspiration, rather madly seeing characters and scenes encoded in the new shower tiles Anri had installed. In her dreams, she transforms into a mythical namesake creature, Manananggal, which lives as a woman by day and becomes a winged creature at night that feeds on the blood of pregnant women. The vision frightens Anri, but it is truly what Manana has become—a writer who feeds on the lives of others in order to create—and Murvanidze spares herself nothing in embodying her character’s obsession.

The film is beautifully shot by Konstantin Esadze, who captures the textures of crumbling concrete and overgrown cottages, and the velvety interior where Jarji plies his trade. He teases the viewer with half-seen movement and the near invisibility of Manana in the red room she repairs to when Anri declares her book worthless pornography and leads the family in burning what he thinks is the only copy of it. Everywhere, he traps Manana and the people in her life in boxes and watches their behavior. This strategy of Urushadze and Esadze illuminates the great unease Manana feels when compared with those content to have their lives carefully demarcated.

The title of the film could refer to the madness that seems to overcome Manana, or her own mother, who we learn from Anri went off the deep end. I rather think, however, that what really scares everyone so much is the wellspring of sexual imagination from which Manana gave birth to her novel.

Scary Mother screens Sunday, October 15 at 8 p.m., Monday, October 16 at 5:45 p.m., and Friday, October 20 at 3:15 p.m. at the AMC River East 21, 322 E. Illinois St.


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