"Mother, Couch" Movie Review

A Surreal Exploration of Mortality and Parenting. Writer-director Niclas Larsson solidifies his reputation as a rising visionary filmmaker with a highly promising debut.

There’s something eerily captivating about “Mother, Couch” that goes beyond the surreal. Perhaps it’s Ellen Burstyn’s career-best performance or the uncanny resemblance of Lara Flynn Boyle to the iconic actress, perfectly cast as her daughter. Or maybe it’s the way Ewan McGregor’s character unravels as he grapples with the haunting question of his competence as a parent, while his on-screen wife, portrayed by Lake Bell, is drowning in domestic stress. In short, “Mother, Couch” is an unexpected triumph, marking writer-director Niclas Larsson’s feature debut, following his previous work on the short film series “Magic Diner,” starring Alicia Vikander.

Firstly, let’s address the intriguing title, “Mother, Couch.” The comma is crucial because it introduces us to a nameless Mother (Burstyn), defined solely by her role as the mother of three children: David (McGregor), Gruffudd (Rhys Ifans), and Linda (Boyle). She encounters a lavish green couch and refuses to budge from it. We don’t witness the moment Mother stumbles upon the couch; the film opens with David rushing to pick her up from the closing sale at Oakwoods furniture store, where she has taken refuge on this very sofa.

To David’s surprise, the store manager, Bella (Taylor Russell), doesn’t seem to mind Mother’s presence and even offers her a place to stay overnight if needed, as long as the store-owning father, Marco, and his identical twin, Marcus (both played by F. Murray Abraham), remain unaware.

David is torn between not wanting to buy the couch, Mother’s unwavering attachment to it, and Linda’s insistence on calling 9-1-1. Gruffudd, on the other hand, is preoccupied with flirting with Bella, contributing nothing to the bizarre situation of Mother and couch becoming inseparable, both literally and figuratively. However, “Mother, Couch” isn’t merely about a furniture store or a couch.

Larsson’s script skillfully navigates the descent into David’s madness, a journey tightly linked to his growing frustration over his inability to resolve the situation, despite his efforts to be a good son and brother. However, the title of “good father” becomes a point of contention after Mother literally stabs him in the back with a letter opener, exposing his shortcomings as a parental figure.

“Mother, Couch” flirts with the visual symmetry reminiscent of a Wes Anderson film. The superb production design reflects the film’s overarching theme of decay, emphasizing the idea that “everything must go,” including Mother and David’s sanity. As Bella grows closer to David, her youthful energy takes on a maternal role. The film beautifully contrasts her flirtatiousness in a towel after a shower with her modest, old-school bathrobe as she prepares dinner and tucks David in. Bella seems like an angel, while Oakwoods feels like purgatory. David faces a crucial decision: stay and keep trying, or finally leave his Mother behind.

The layout of Oakwoods is meticulously designed, with each room fully furnished and resembling a real home. Bella insists that Oakwoods has nothing to do with IKEA, despite the uncanny similarities. Oakwoods exudes comfort and homeliness, and for David, Gruffudd, and Linda, it becomes a place to recreate their denied childhoods in the 1950s-style kitchen. Mother’s revelation that she never wanted children in the first place leaves them grappling with their existence as the lucky few who “clung” to her uterus amidst multiple abortions.

Ellen Burstyn’s performance in “Mother, Couch” is a stark reminder of her legendary status in Hollywood. A monologue midway through the film showcases acting at its finest, with Burstyn delivering a powerful performance while McGregor skillfully portrays David’s vulnerability. Taylor Russell impresses with her ability to convey a range of emotions with just a tilt of her head, shining brightly in her role as Bella, following her breakout performance in “Bones and All.” Lara Flynn Boyle, known for “Twin Peaks,” is brilliantly cast as a chain-smoking older sister who yearns to escape the ever-escalating drama orchestrated by Mother.

In the era of 2023’s film trend focusing on narcissistic mothers, “Mother, Couch” and “Beau Is Afraid” make for the perfect double feature. Niclas Larsson’s vision for “Mother, Couch” is woven into every frame, establishing him as a noteworthy presence in Hollywood. Larsson’s unique exploration of mortality, surrealism, and the complexities of parenthood makes “Mother, Couch” a must-see cinematic experience. Is Larsson the new Ari Aster? With this compelling debut, his potential is undeniable.