Review Of Netflix’s ‘The Mother’ Starring Jennifer Lopez

When her daughter’s life is in grave danger, a professional assassin abandons her hiding spot and anonymity. She must fight two former boyfriends to protect her daughter from gang and cartel threats.

This Film Could Have Been Named ‘The Father’

If made in the 1980s/90s, this film would most likely be named The Father and would feature a male action hero as the subject attempting to compensate for his father’s absence by teaching his kid a bit of his craft. Something like Falcon: The Champion of Champions (1987), maybe starring Sylvester Stallone, but using survival methods instead of arm wrestling. Several parts traditionally committed largely to males are now being considered within an adaptation to a female viewpoint, owing to the ongoing need for diversity in film (thank god). Is it enough, however, to have a female protagonist for this adjustment to be beneficial in terms of representation diversity?

Jennifer Lopez Stuns In Action-Packed Netflix Movie

Jennifer Lopez plays the major role in The Mother. She is a former soldier who is associated with weapons traffickers and becomes the target of her former business colleagues (and lovers). She barely escapes the attack of one of these malefactors at the start of Niki Caro’s feature film, the villain capable of slashing a pregnant woman’s tummy – the horrible gesture communicates the measure of evil. To safeguard her kid, she abducts her, enabling the FBI to place her for adoption and monitor her safety. However, as is fitting for a trip in which vengeance is a driving factor, the Mother must return.

The fact that the Mother is not hypersexualized is already a (positive) point outside the curve. Only once does the director’s camera highlight the beauty of Jennifer Lopez’s curves, an actress and singer widely regarded as a sex symbol. But, in order to avoid (happily), this perception of the female body as a mirror of male yearning, Niki ends up eliminating all elements of desire. So much so that when the protagonist cures the FBI agent’s wounds, it was intended to be a moment of sexual tension, but it doesn’t happen. In the aftermath of the progressive eradication of sexuality in blockbuster candidates, it will be tangible proof of what certain theories have emphasized.

Americans, are you aware that the fear of sexually categorizing women has resulted in the restriction of sex as a dramatic component? Yes and no, the reality is that inconsequential things like love and desire are stated more than they are proven. In theory, Mother had a history with the bandits portrayed by Joseph Fiennes and Gael Garca Bernal, but nothing “palpable” when the former lovers reunite. So we have a basic and hurried voyage of recognition between a mother and her daughter who are forced to live apart. This reunion seems to be mediated by a common tragedy. Only on the surface.

Lopez Proves She’s Still Got It in ‘The Mother’

The unpleasant talks between Mother and daughter reveal A Me’s actual philosophy. But, before we get there, it’s worth noting that Jennifer Lopez’s Mother is a traditional heroine. Her chaotic background as a weapons merchant’s partner is disclosed (in the popular one, she receives a pass of cloth) owing to her unwavering capacity to offer oneself for someone. This tendency for renunciation, that is, leaving behind one’s own desires and aspirations if it helps someone and/or a group, is one of the hero’s (or heroine’s) primary qualities. In this example, the heroine accepts pain from the start if it means protecting her daughter, and she will consistently emphasize her sacrificial preparedness throughout the development up to the climax.

Of certainly, provided it keeps the girl safe from boogeymen. In addition, the narrative does not raise any questions about this woman’s hypocrisy. It indicates that she consented to carry weapons across the globe out of dread of a monotonous routine following military duty, but changed her mind when she opened a crate and discovered human trafficking. The film never calls into question this awareness, which never considered the negative consequences of her illicit sale of war equipment. However, repentance is part of the pattern, with sacrifice being a necessary act of penance.

Returning to the investigation of A Me’s motto. Mother and Daughter (played by Lucy Paez) have ample time in their seclusion to form a connection while hiding from the evil men (yet both are devoid of personality and importance other than as obstacles). Jennifer Lopez’s uncaring persona teaches the 12-year-old girl assassin techniques. Then, among other things, we have shots of target practice until Zoe becomes proficient at it.

While the objective is to communicate the sense of inherited ability (Zoe is as skillful as her Mother), in the end, the adult educates the kid about the need of knowing how to wield weapons in order to “turn around.” And this heinous ideological prejudice is perpetuated by the fact that the Mother is always right, even in the face of a pacifist girl’s complaints. When Zoe questions the logic of hunting, her Mother responds that “everything you eat is the product of violence,” thereby negating the interlocutor’s “life experiences.”

The relationship between the wolf and the cubs reinforces this easy surrender in the face of a “naturalness of violence.” The bandits track them down because Zoe insists on feeding the wolves. Although the heroine feeds her wolf counterpart (as a concession to her daughter), the wolf verifies the logic of “not interfering with nature” when she gets wounded. As a result, underlying the glorification of mother courage in an escapism film comes the acceptance of violence as normal.

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