It is 1960 in America, a time when a young and charismatic John F. Kennedy is running a vigorous campaign for president. Against this backdrop of political fervor and societal change, two women, Alice (Jessica Chastain) and Celine (Anne Hathaway), navigate their intertwined lives. As neighbors and best friends, their bond extends to their families. Both of their husbands, Simon (Anders Danielsen Lie) and Damian (Josh Charles), enjoy professional success, while their young sons, Theo (Eamon O’Connell) and Max (Baylen D. Bielitz), revel in their close-knit friendship, frequently darting in and out of each other’s homes.
The film commences with Alice organizing a surprise party for Celine, setting a festive yet tense tone. Conversations at the party soon touch upon the recurring subject of Kennedy’s perceived youth and inexperience for the presidency. One delicate moment arises when Simon jokes about the Kennedys expecting a child on the campaign trail, casting a shadow over the celebration as Celine and Damian have been struggling with fertility issues.
Alice’s character is further fleshed out when we learn of her past as a star reporter at the local newspaper. Despite Simon’s reservations, Alice yearns to return to her journalistic roots. This modern version of a Stepford paradise reveals cracks beneath its idyllic surface, with Alice depicted as overly anxious, particularly concerning her son, Theo. Celine, in stark contrast, embodies a more relaxed and playful parental style, merging gracefully into the boys’ games. Theo’s Granny Jean (Caroline Lagerfelt), known for her captivating magic tricks, becomes a cherished figure among the children.
However, a tragic incident shatters this idyllic picture, driving a wedge between the once inseparable friends.
. The ensuing turmoil of jealousy, grief, and paranoia creates a kaleidoscope of unreliable narrators and distorted perspectives, where one moment’s victim can turn into the next moment’s antagonist. Each tear-filled reconciliation is a double-edged sword, potentially masking deeper, more sinister intentions.
“Mothers’ Instinct,” adapted from Barbara Abel’s 2012 novel and Olivier Masset-Depasse’s critically acclaimed Belgian-French film “Duelles” (2018), stands out with its stunning visual appeal. Originally set to be directed by Masset-Depasse, the English-language adaptation eventually saw Benoît Delhomme making his directorial debut. Delhomme brings his expertise as a cinematographer to the fore, delivering golden-hued, aesthetically pleasing frames. The charm of the 1960s fashion further enlivens the film, with Chastain and Hathaway appearing radiant in their period-appropriate pencil skirts, pastel blouses, bows, cigarette trousers, high heels, purses, and gloves.
The emotional spectrum portrayed by Chastain and Hathaway as Alice and Celine is broad and impactful, spanning from love and grief to guilt, rage, suspicion, and fear. The film subtly touches on a recurring societal motif: the tendency to marginalize so-called ‘problem women’ by metaphorically consigning them to attics. Despite the robust performances of the leading actors, the screenplay falters, resembling a frightened mouse erratically scuttling in an oversized sandpit.
These abrupt tonal shifts sustain an initial sense of tension and unpredictability, but by the third act, the narrative strains under its own ambition, veering into an almost melodramatic excess reminiscent of 1980s Hindi cinema. At this juncture, one might almost anticipate the characters lapsing into overtly dramatic confrontations, complete with insults and physical altercations, a scenario that, while incongruous, might have added an unexpected layer of entertainment.
As viewers engage with “Mothers’ Instinct,” they will undoubtedly find themselves contemplating various facets of the film—from the placement of the apostrophe in its title to the impeccable sartorial choices that grace its protagonists. These elements, coupled with the stellar performances from Chastain and Hathaway, ensure that the film, despite its narrative inconsistencies, remains a noteworthy cinematic experience.
“Mothers’ Instinct” is currently being featured in theaters, inviting audiences to explore its rich, if uneven, tapestry of motherhood, friendship, and the darker recesses of the human psyche.
