Written and directed by Jake Mavity, a homeless woman takes a young runaway under her wing and tries to reunite her with her family. Starring: Emma Keele, Madison Lazarus, Robert Goodman, Iain Gordon, Charlie Kemp, Jasper Ryan-Cater, Euan Shanahan and Riley Woodford.
Jake Mavity certainly wastes no time and dives straight in with (Mum), immediately establishing the harsh reality which Lyley (Madison Lazarus) finds herself in. Creating gritty stories is a staple of British cinema, translating everyday struggle and pain to the screen, but it’s not always done well. It’s a tricky line to walk to hold onto sincerity while crafting that violent, unforgiving, disillusioned environment. With (Mum) Mavity rises to that challenge and succeeds because he recognises the key to making a film like this is keeping the focus where it should be, don’t let the violence and struggle become your main character, hold onto the humanity.
Mavity builds the heart of (Mum) around the connection between Lyley and Jo (Emma Keele), letting their complex situation impact their experience, but not completely dictate it. Ultimately creating a moving story of support and empathy. He keeps the plot relatively simple as to not overwhelm it, and allows the focus to remain on their burgeoning connection. In doing so, it creates a portrayal of what it means to find support in your time of need, something that can make all the difference, no matter what walk of life you come from.
Another key to that success is the cinematography from Thom Neal, the palette and texture of (Mum) quickly bring to mind Bird and Andrea Arnold’s quintessential realism. There’s a nicely appropriate grit to the grain of the film, it leans into the bleak nature of the story, without becoming too heavy or manufactured. Mavity creates a good tension with his direction, one that’s also balanced with a classically British sense of humour and sarcasm, again preventing the film from becoming artificially gritty. Something which is in turn complemented by editing, also from Mavity, and the subtle score from Sam Jones.
That balance is then secured by the performances from Emma Keele and Madison Lazarus. They don’t have a rosy, immediate friendship, it’s realistically rocky and plagued by their characters’ pride, defences and flaws. Something that is immediate however is how Keele establishes the character of Jo. How she effortlessly instils those mentor qualities, her generosity and compassion, while also threading in her insecurities and trauma. The latter she does quietly and gradually, which works very well.
While Lazarus’ Lyley is drenched in youth, quick to deflect, reluctant to accept responsibility, afraid and vulnerable, yet trying to seem confident and strong on the outside. Alongside Keele’s Jo they build an understanding, a recognition that they are stronger together. Jo can offer experience and advice, while Lyley offers companionship. It’s a messy road that brings them together but there is also something wholesome about it.
(Mum) captures the power of making a connection, of finding support and companionship. How against a backdrop of violence and poverty, these characters find resilience and strength in one another. It’s well shot, has a consistent tone and cleverly prioritises that connection over the harsh landscape and violence, holding onto its sincerity and emotion. Emma Keele and Madison Lazarus both give great performances, it’s moving and almost feels like an homage not simply to the spirit of people like Jo and Lyley, but also to British filmmaking’s love affair with realism and struggle.
