Marie Leuenberger in the Nightmare of Mother

What has been with all his mother’s wrath lately? He came first Night shotthen If I had legs I would hit youand now – in accordance with the rule that the three make a trend – please welcome Mother’s baby. Led by a fierce convincing performance by Marie Leuenberger, a psychological thriller Johanna Moder, a tick, along with exceptional confidence, while maintaining the ambiguity whether after childbirth, the depression feeds Julia’s paranoia or really something disturbing from her son for newborns at the private fertility clinic where she gave birth. This is when the scenario begins to answer that things become trembling.

Part of the problem is that the movie often seems itching to turn into horror decisively, but it is constantly lingering. Modern and co -author Arne Kohlweyer are committed to this shift so late in action that everything becomes a little, well, silly. The outcome of Bizarroa could also pack a higher impact value that he was not so obviously telegraphy at different points. That said, Mother’s baby is juicy, disturbing and pierced with dark humor. It caught me for duration, even in the lowest.

In addition to the firm wounds of Leuenberger, as a classic orchestra conductor Julia – think that Lydia Tár with baby bump – the movie is beautifully used by Claes Bang as Dr. Vilfort, head of the Cunning but Secret Lumen Vitae Clinic.

When the doctor greets Julia and her husband Georg (Hans Löw), everything is smooth, explaining that the object uses all the latest research and has the highest success rate. He is also convinced that only one treatment will make Julia pregnant, although the couple obviously tried many other options before throwing out a large dollar for Lumen Vitae.

With subtle intonations and the smallest flickering of his facial expressions, Bang lets us know that Dr. Vilfort is not exactly nurturing a miracleman who seems to be with his soft speech and crispy white laboratory coat. The awful pets in the films are generally a red flag, and the DOC has an office aquarium with Axolotl, a cannibalist Mexican Salamander with the ability to regenerate lost limbs. As for the sympathy, it is a cat -free cat in the water -watershed world, and if you think about stem cells, you could warm up.

Just as it is scheduled, Julia became pregnant in the first attempt and everything went through the gestation period. Not so much when he’s trying. In one of the most intense scenes of childbirth in recent memory – the clicking of mothers should approach with caution – Julia is increasingly panicked, because the sisters are constantly multiplying, hurriedly implementing changes in the procedure. Robert Oberrainer’s camera slowly circles the delivery table, adding the feeling that something goes very wrong.

When the boy finally appears, he does not sound and thrown out of the room with the greatest rush of Dr. Vilfort and Babica Gerlinde (Julia Franz Richter), before Julia even sees or holds him. Poorly shaken new parents say nothing for what they seem like hours, as long as Vilfort told them that the umbilical cord was wrapped around the baby’s neck, and due to the lack of oxygen, the infant was taken to the Neonatal Department of General Hospital. He assures them that everything will be fine.

But when Vilfort returns with her child the next day, Julia remains upset and suspiciously watching her baby as her anxiety escalates to the full attack of anxiety. At first, he has problems with breastfeeding, which is why Gerlinde advises moving to the formula, going against the usual midwife consultant. The fact that Julia continues with the child calls “it”, it seems to be a good indicator that mother’s binding will not happen overnight.

When Julia and Georg get their son home, the modern starts to have fun from the script. Julia is not ready to commit in the name, so they give their son the “working title” Adrian, which will be known to Horor -Connorsers, the name is given to the offspring of the character Mia Farrow in a particular Polan film.

This Adrian may not be an antichriststic material, but it does not seem normal either, sleeping through the noise of the maximum volume, staring empty to the eyes that look like they don’t register anything, and almost never cry, even when Julia gets caught up in the preparation of Schubert’s concert and She forgets to feed him all day.

Leuenberger – who sometimes looks like Kathryn Hahn – is top -notch in these Frausy scenes, leaning against infamous behavior without ever making us question the rationality of Julia. Something shocking is ridiculous in the fact that a mother who suddenly fills herself in squeezing to the clicking toys right next to the baby’s ear just to get a reaction.

When she starts staring vigorously by violin or pumping stereo volume to thunderous levels on Sturm und Drang to classic pieces, Georg begins to doubt her stability. “You wanted a baby,” yells at her. “Yes, but not this one,” he replies. The scenario also touches on the loss of identity that can follow motherhood by flying in anger after changes in the Orchestra Orchestra program without consulting it.

Julia’s concern, which Leuenberger constantly builds in Cerscendo-Crescendo, do not help the unwanted visit to Gerlinde, who seems much bigger for Adrian than his mother. When the midwife warns Julia that it is uncertain to leave the baby unattended on the changing table, you can bet that an alarming drop will occur. Gerlinde brings a gift from Dr. Fish with Axolotl, who expelled Julia, but obviously seems like a lovely enough George to make him pick up a pupil for that. A bad idea.

As the friction between Julia and George reaches its peak, he goes with his child to stay with his mother so his wife can rest and return to normal. But Julia struggles to discover the truth is becoming more and more desperate after listening to vague reports about the negative experiences of other mothers in Lumen Vitae. Not to mention that they told him in the neonatal department that there was no record of her child’s birth.

In one of the most prominent scenes, Julia is taken to see Dr. Vilfort after she stopped entering the clinic medical laboratory. He holds a calm smile on his face and a measured tone of voice as she talks about the potential issues of custody and the ruins of her career, which would probably result in the diagnosis of madness.

For modern and Kohlweyer’s credit ability, there are valid points here about frequent rejection of women’s fears as a problem with mental health. But the progress from the psychodrama to the grotesque nightmare for motherhood is too abrupt to be completely convincing, even if it provides generous serving of lourid pleasures. Whether Julia’s unusual discoveries are real or in her head, the movie could benefit from releasing the hinders earlier.

Yet, even if a little awkwardly sits between the heavy drama and the horror, there is a lot to enjoy, from great performances to the fiery use of music to Oberrainer’s paintings with a wide screen, which become darker and more wickedly in the purple final act.