Alfonso Cuarón’s semi-autobiographical film Roma (2018) offers a tender, visually arresting look at maternal love crossing socioeconomic boundaries. Cleo, a live-in housekeeper for a middle-class family in Mexico City, forms a deep, unspoken bond with the young boys in her care. The film showcases how maternal figures often absorb the trauma of political and domestic upheaval to create a safe, stable world for the young boys growing up under their watch.
First, . She gives life, but she can also take it—psychically if not literally. This duality runs from Oedipus to Norman Bates, from Eva in We Need to Talk About Kevin to Hye-ja in Mother . The maternal body is the first home, but it is also the first prison.
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(2011) examines the guilt and fear of a mother raising a sociopathic son. (2014) and I Killed My Mother
No discussion of the mother-son bond can avoid the shadow of Sigmund Freud. The Oedipus complex (Freud, 1900) posits the young boy’s desire for the mother and rivalry with the father, a crisis resolved through identification with the father and repression of incestuous wishes. While foundational, this model is androcentric and treats the mother as an object of desire rather than a subject. Later feminists, notably Nancy Chodorow (1978), argued that because mothers are primary caregivers for both sons and daughters, sons develop through differentiation (learning to be “not-mother”), leading to a more rigid sense of autonomy, while daughters retain greater relational fluidity. This asymmetry, Chodorow suggests, creates in sons a lifelong ambivalence: a yearning for maternal intimacy coupled with a fear of engulfment.
What emerges from this scholarship is a recognition that the mother–son relationship has shifted significantly over the past half-century. The idealized, self-sacrificing mother of mid-century cinema has given way to something more ambivalent, more conflicted, and ultimately more true to life. The “monstrous mother” reading that dominated critical responses to films like Child’s Pose has itself been questioned by feminist critics, who argue that over-pathologizing mothers repeats the very sexist assumptions that the films themselves seek to critique. First,
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Greta Gerwig’s Lady Bird (2017) received immense praise for its mother-daughter dynamic, but cinema has also mastered the masculine equivalent. Xavier Dolan’s Mommy (2014) explodes onto the screen with a chaotic, hyper-stylized look at a widowed mother and her volatile, ADHD-afflicted teenage son. The film captures the whiplash of their relationship—moving from fierce, dancing joy to violent screaming matches in a matter of seconds. Dolan highlights the tragedy of a love that is incredibly vast but structurally unsustainable. The Shift Toward Modern Nuance The maternal body is the first home, but
The evolving dynamics of mother-son relationships in India present both challenges and opportunities. Challenges include navigating the balance between traditional values and modern lifestyles, managing expectations within the family, and ensuring emotional well-being. On the other hand, there are opportunities for deeper, more meaningful connections between mothers and sons, as well as for redefining and strengthening familial bonds in contemporary Indian society.
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A staple of Victorian literature and early cinema, where the mother’s only purpose is to die or suffer for her son's success.