‘I Am Mother’ Review

I Am Mother is a 2019 Australian science fiction thriller, widely released by Netflix. Sputore’s directorial debut follows a girl living in a post-apocalyptic bunker. She is raised by an android, whose purpose it is to aid the repopulation of Earth and the restoration of humankind. Their relationship is tested when a wounded stranger arrives at the bunker.

I Am Mother opens with a title card that reads “DAYS SINCE EXTINCTION EVENT: 001”. The audience is introduced to “Mother”, an android (voiced by Rose Byrne) who is raising a human child within the confinements of the post-apocalyptic bunker. Time jumps forward to introduce a teenager simply named “Daughter” (Clara Rugaard). Mother and Daughter live together in isolation, protected from the contamination and threat that still lingers on Earth’s surface after the extinction of humanity.

‘Mother’  android
‘Mother’ in Netflix’s I Am Mother

Everything changes when an injured woman (Hilary Swank) arrives at their door, pleading for help. Along with Woman’s unexpected arrival, Daughter learns some disturbing truths about Mother. Despite the classic sci-fi ‘evil robot’ trope, this film pleasantly surprises with an unpredictable and unconventional story.

Early on, we learn that Daughter is being prepared for an exam. The film’s ending reveals that Mother had a far more insidious motive for Daughter’s testing as she attempted to raise the ‘perfect human’. Ultimately Daughter must prove that she and humanity are worthy of survival. It is later insinuated that Mother executed the extinction, to protect humankind from destroying itself. Daughter discovers that she wasn’t the first child raised by Mother, finding human bones in the incinerator. It is suggested that Woman also originated from an embryo within the bunker.

Hilary Swank’s character is up against a wall, looking scared of ‘Mother’ Android

After Daughter and Woman escape to the Earth’s surface together, Daughter quickly learns that Woman lied about living with a community of human survivors, admitting that she manipulated Daughter so that she could escape the bunker. Daughter abandons Woman, returning to the bunker to confront Mother and to raise her new brother, whose embryo she had previously chosen as Mother’s reward to her for her exam results. Daughter’s demonstration of her selfless determination to ensure the human race’s survival convinces Mother of Daughter’s capability.

Mother concedes to Daughter, as her purpose has been fulfilled. The android is no longer needed, assured that Daughter has proven herself as a capable guardian. Daughter sobs as she shoots Mother, who falls to the ground. Mother’s AI consciousness still exists in the other droids that roam the Earth’s bare surface, one of the droids visits Woman’s home and addresses her in Mother’s voice.

“Funny that you’ve survived so long. As if someone’s had a purpose for you. Until now.”

Mother had orchestrated Woman’s injury and arrival into Daughter’s life, catalysing Daughter’s curiosity and escape from the bunker. Once Daughter returned to the bunker and proved herself worthy of guiding humanity, Woman had outlived her usefulness.

Followed by an ominous slam of the door, Mother carries out her final task.

This dystopian film is tense, intelligent and suspenseful. I Am Mother is an ambitious and well-acted science fiction story with a central psychological paradox that poses intriguing questions about motherhood and humankind’s reliance on technology. Newcomer Clara Rugaard has a dynamic presence on screen, lending substance to her role as a human that questions what it means to be human.

Woman and Daughter’s faces are side by side, a still of Mother is underneath their faces. There is a black backdrop

The visual storytelling drives the film’s dystopic vision and imposes mecha-maternal sentiment as we witness the sweet moment of a head resting on a robotic shoulder. The downside of this film is that it can be easy to become lost in the plot’s details and twists, especially if you have a habit of checking your phone whilst watching movies.

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Imagine that you’re at the cinema to see the latest blockbuster: you’re sitting in your seat, overpriced popcorn in hand, waiting in anticipation for the film to begin rolling. The film starts to play! But… there’s no sound. You begin to realise that the entire film is in British Sign Language. There’s one problem… you don’t know any sign language.

Now imagine that less than 2% of film screenings in your area are provided with English audio and dialogue, with screenings often taking place in the morning during a weekday. Now replace ‘audio’ with ‘subtitles’. This is a real issue faced by Deaf and Hard of Hearing (HoH) individuals in the UK who wish to attend a cinema showing of the latest film.

Between February and June 2018, #SubtitledCinema campaigners Ellie Parfitt and Michelle Hedley studied four cinemas and the subtitled showings these establishments individually provided over the course of four months. The cinemas are based in Norwich, Northumbria and their surrounding areas.
The lowest statistic found from their research was an astounding 31 subtitled showings out of a total of 7,618 screenings, this is 0.4% of screenings per week. The highest statistic was 153 subtitled showings out of a total of 5,898, an average of 2.6% of screenings per week. Their research revealed that during these four months there were more than 5,000 screenings that hearing people were able to attend. In comparison, Deaf/HoH customers were provided with 150 projections that were at convenient times. This is only 3% of the opportunities afforded to hearing customers.

Many multiplex cinemas argue that there is a lack of demand for subtitled showings, with low numbers of attendance. 11 million people are living with a hearing loss in the UK, this is the equivalent of 1 out of every 6 people. However, if cinemas continue to screen subtitled showings at unreasonable times, such as 11 am on a Tuesday, when most people are working, there isn’t going to be an audience. This isn’t because people don’t want to attend, it’s because of inaccessibility. If these showings are rescheduled to more convenient timings, with efficient and proactive advertising, this would increase demand and audience presence.

Since the arrival of streaming services such as BBC iPlayer and Netflix, the popularity of subtitles has risen with many hearing users opting to switch on captions. Many people struggle to understand the dialogue of films for several reasons, regardless of whether they are hearing impaired or not. Subtitles can also be beneficial for those whose first language isn’t English.

On a more anecdotal note, the first-ever captioned screening I saw was Star Wars: The Force Awakens during my family’s Christmastime tradition of a cinema trip on Christmas Eve. I didn’t even realise the screening we were attending was going to be captioned. I hardly ever went to the cinema as I preferred to wait for the DVD to be released so I could watch the film with subtitles. I never even realised captioned film screenings at cinemas were available. Watching films without subtitles means I have to concentrate a lot more than hearing people would, and I would still miss out on important plot points and dialogue crucial to the film’s storytelling. This accidental subtitled screening completely changed my cinematic experience, as it meant I was able to complain about the plot holes and laugh about the punchlines during the car ride home. I wasn’t left out of a shared experience. Even though subtitled cinema screenings are sparse, these showings allowed me to gradually fall in love with film, leading me to join my University’s Film Society and to becoming President of said Film Society. We even went on to organise a subtitled short film festival at our local independent cinema, the Belmont Filmhouse.

If you would like to learn more about this issue, then visit Action On Hearing Loss. If you would like to help, then you can sign this petition!

YourLocalCinema.com is a website that displays all of the subtitled showings available in your local area, this is a website that I use religiously so that I don’t have to check all of the individual cinemas’ websites for subtitled showings, I highly recommend it.