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Cinema, with its ability to visualize the psychological, took the literary anxiety of the possessive mother and amplified it into the realm of the Gothic and the Noir. The medium capitalized on the visual intimacy of the mother-son bond, often framing the mother as an obstacle to sexual maturity.
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But a more nuanced reading from contemporary feminist and queer theory suggests something else. Perhaps the goal is not to escape the mother, but to see her clearly—as a flawed, desiring, finite human being. In Hirokazu Kore-eda’s masterpiece Still Walking (2008), a son returns to his parents’ home on the anniversary of his brother’s death. His mother is cordial, but also quietly cruel, subtly punishing him for not being the son who died. The film does not resolve this tension. The son does not have a cathartic confrontation. He simply endures, loves, and leaves. Kore-eda suggests that the mother-son relationship is not a problem to be solved but a weather system to be lived through. Cinema, with its ability to visualize the psychological,