TThis discovery is truly remarkable. Laurence Vannicelli, the writer-director, has created a remarkable piece following his lesser-known debut film, Vera. This new work transcends the boundaries of traditional horror, incorporating elements of the supernatural while remaining deeply psychological. It evokes the nostalgia of beloved psychological thrillers like Don’t Look Now (1973) and Obsession (1976), delving into the complexities of human relationships. Mother, May I? fearlessly explores the dark recesses of male psyche, where unresolved feelings towards their mothers can wreak havoc on present romantic connections.
The story revolves around Tracy (Robin Winn Moore), the central figure of this tale, who is discovered dead on the floor covered in bugs as the authorities arrive. Her son, Emmett (Kyle Gallner), collects her ashes and scatters them unceremoniously on a nearby lake, accompanied by his poet girlfriend, Anya (Holland Roden). Together, they venture into Tracy’s inherited home, a charming converted barn in upstate New York, filled with relics from her past as a bohemian dancer.
As the story unfolds, we discover that Emmett was placed into care at a young age and barely remembers his mother. He harbors deep resentment towards her for seemingly rejecting him. This psychological intricacy emerges through unusual psychodrama experiments orchestrated by Anya, whose mother works as a therapist. They pretend to be each other, exploring their emotions in a peculiar manner. The narrative takes a further twist when they consume magic mushrooms one night. Anya begins to embody Tracy’s persona, despite never having met her. She dons scarves reminiscent of Little Edie from Grey Gardens and continues this behavior long after the effects of the mushrooms should have subsided. Is she possessed or simply lost within her own mind games?
Vannicelli skillfully delves into these questions. Collaborating with cinematographer Craig Harmer, he cleverly employs vintage cinematic techniques, such as subtle zooms, lingering long-distance shots, and direct gaze into the camera, to create a sense of unease. While the film’s final act may not tie up all loose ends, it showcases immense craftsmanship and outstanding performances from the two leads, who flawlessly complement each other. Furthermore, the elegant punctuation in the film’s title adds an extra touch of sophistication.
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