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Piše: Lilla Puskás Prevela sa engleskog: Bojana Pušara

Posljednje ostvarenje Anne Muylaert, The Second Mother, u velikoj se mjeri fokusira na Brazil kao mjesto zbivanja. Zbog opšte nezaposlenosti, prisutan je problem majki koje se sele iz manjih mjesta u velike gradove da rade kao dadilje u porodicama višeg staleža, dok pri tom ostavljaju svoju vlastitu djecu. Upravo u takvoj situaciji nalazi se Val (Regina Casé) koja se seli u São Paolo i pomaže bogataškom paru da odgajaju svog sina jedinca, Fabinha (Michel Joelsas). Tinejdžer postaje povezaniji sa svojom dadiljom nego sa roditeljima, jer u njihovom odnosu ima više bliskosti, pažnje i brige. Ljubomora i nemogućnost istinske komunikacije su osnovni izvori koflikta u ovoj priči, kao i unutrašnji strahovi i napetost koje Val osjeća kao stanovnica drugog reda u njihovoj kući. Glavna vrijednost ovog filma je opis psihološkog procesa tlačenja samog sebe, koji je prikazala Val. Njeno kretanje u kući je strogo ograničeno na kuhinju i minijaturnu sobu, a i unutar porodičnih odnosa, postavljena je marginalno. Film ne prikazuje dovoljno jasno na koji način je tokom godina izgrađena ovakva hijerarhija. Može se pretpostaviti da se Val svojevoljno adaptirala prema pravilima i od prekomjerne pokornosti postala ropkinja. 

Druga majka; režija: Anna Muylaert; uloge: Regina Case, Michel Joelsas, Camila Mardila; 2015.

Film Anne Muylaert odslikava bitne situacije u sadašnjem brazilskom društvu, a prije svega razlike koje vladaju između bogataša i siromaha. Iako otvara ozbiljne teme, film uspjeva zadržati veseli i zabavni ton. Muylaert stvara veoma ugodnu atmosferu, a da pri tom ne zanemaruje probleme. Jedno od rijetkih mijesta u filmu gdje se priča zapliće je zahtjev Jéssice (Camila Márdila), Valine kćerke, da se preseli u São Paolo, zbog prijemnog ispita na Architecture and Urbanism College, čime se prvi put njen lik uvodi u radnju. Val poziva kćerku da živi s njom u kući, što izgleda kao loša ideja, jer Jessice odbija da poštuje kućna pravila. Obzirom na tvrdoglavost djevojčice u pubertetu, njen dolazak neočekivano završava nizom neobičnih situacija, što podsjeća na priču iz Pasolinijeve Teoreme. Svaki član porodice razvija zaseban odnos sa Jessicom, što vodi do suštinskih promjena u njihvim karakterima. Najznačajniji preobražaj doživljava Val, koja konačno shvata da više ne može živjeti u takvom položaju.

Regina Casé, jedna od najpopularnijih brazilskih glumica, predstavlja jedan šlampav lik, koji će nam se ipak dopasti. Muylaertin scenario sadrži mnoge komične scene i Casé se savršeno u njih uklapa, iako ponekad svojevrsno pretjerano reaguje. Scene koje ostaj u sjećanju su one u kojima je Val, kada iznenada ostaje sama na trenutak, uživa u tome da je niko ne vidi. The Second Mother ukazuje na dugoročne posljedice socijalne nejednakosti i ekonomskih migracija unutar porodice. Muylaertin film odslikava manjak majčinske odanosti kao težak, ali oprostiv grijeh.  Ovo ostvarenje je prikazano na otvaranju Sundance Fim Festivala i nagrađeno je specijalnom nagradom žirija. Nakon Nagrade publike na Berlinaleu, u sklopu programa Panorama, Muylaert je također nagrađena i C.I.C.A.E. nagradom za svoju sposobnost da prenese stvarnu empatiju na filmsko platno.

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The Second Mother: When is Mummy coming home?

Written by: Lilla Puskás Translation: Bojana Pušara

Anna Muylaert’s latest feature,The Second Mother focuses largely on the social context of its setting, namely Brasil, where due to general unemployment problems many mothers have to move from the countryside to the big cities to work as au pairs at upper class family homes, thereby leaving their own children behind. This is what happens to Val (Regina Casé) who moves to São Paolo and helps a wealthy couple to raise their only son, Fabinho (Michel Joelsas). The teenager feels more connected to his nanny than to his real parents, as their relationship is closer and far more caring. Jealousy and the inability for real communication are the main sources of the conflicts in the plot, as well as Val’s inner fear and anxiety as she feels like a second class citizen in the house. The main quality of the movie lies in its depiction of the psychological process of self-opression, through the portrayal of Val’s character. Her place in the house is strictly limited to the kitchen and her tiny bedroom and also, within the family, she is very much forced to the periphery. It is never made clear in the movie how the hierarchy got built up throughout all these years; however, supposedly, it was Val who adapted herself to the rules too willingly and became too obedient, thus ending up as a slave.

The Second Mother; director: Anna Muylaert; cast: Regina Case, Michel Joelsas, Camila Mardila; 2015

Muylaert’s movie reflects on important issues in contemporary Brazilian society, first of all the prohibitions which maintain the distance between wealthy and poor. Even though it raises serious issues, the movie keeps up a light-hearted tone. Muylaert creates a very pleasent atmosphere without understating the problems. One of the very few plot twists comes when Val’s daugher Jéssica (Camila Márdila) appears out of the blue and establishes a claim to move to São Paolo, for the application exam to the Architecture and Urbanism College. Val invites her daugher to live with her in the house but it turns out to be a bad idea as the girl refuses to respect the rules of the house. Due to the teen girl’s stubborn character, her arrival unexpectedly ends up creating an overly awkward situation which is reminiscent of the plot of Pasolini’s Teorema (1968). Each family member develops an individual relationship with Jéssica, leading to essential changes in their personalities. The most significant of these is the change in Val, who finally comes to the understanding that she cannot live oppressed any longer.

Regina Casé, one of the most popular character actresses in Brasil, plays a rather clumsy but still very likeable character. Muylaert’s script contains many comical scenes and Casé fits these perfectly; however, sometimes she somewhat overacts. That said, the most memorable scenes are the solo episodes of Val, when she suddenly stays alone for a moment and enjoys being unseen. The Second Mother highlights the long term consequences of social inequality and economic migrancy within families. Muylaert’s movie depicts a mother’s lack of faithfulness as a serious but forgivable sin. The movie opened at Sundance and was quickly awarded the Special Jury Price. After getting the Audience Award at Berlinale’s Panorama section, Muylaert also got awarded with the C.I.C.A.E. award as well, for her ability for real emphathy demonstrated throughout the movie.