previously published on Cineuropa
Films centred on women of a certain age are not that common in Serbian cinema, and those that look at things from a distinctive, feminine perspective are even rarer. However, actress-turned-filmmaker Mirjana Karanović (of Esma’s Song fame) has decided to forge her filmmaking career with exactly this kind of movie. Her first directorial effort, A Good Wife (2016), in which she told the story of a woman who has to face up to her husband’s involvement in war crimes during the 1990s wars in the former Yugoslavia, made quite a splash on the festival circuit after its world premiere at Sundance. Her sophomore film, Mother Mara, has just premiered as an out-of-competition gala at Sarajevo.
The titular protagonist, played by the filmmaker herself, has just lost her son Nemanja (Pavle Čemerikić in flashbacks and short mobile phone-shot inserts), who was the apple of her eye. Mara raised him as a single mother, while also building a career as a corporate lawyer, and now, everybody from the ranks of her family and friends both at and after the funeral reminds her that she is left with nothing to live for. Since the stern Mara is not exactly the crying type, she tries to overcome her muted grief by returning to work.
There, a young man called Milan (Vučić Perović, mainly seen on Serbian TV) insists on her representing him in a routine probate case. Although this type of case is something more suitable for a junior lawyer at Mara’s firm, Milan has a strong argument: he knew the part of Nemanja’s life that was hidden from his mother, the gym sessions and the wild nights out in the floating river clubs in Belgrade. The strictly professional relationship between the middle-aged woman and the man, who is one generation younger than her, turns personal, carnal and romantic, placing Mara in a completely new situation.
As an actress, Karanović has a commanding screen presence, and she is quite expressive both in the muted and in the more vocal parts of her role, and the chemistry she shares with Perović is compellingly awkward, as is usually the case in slightly repressed cultures where many things are still taboo. The presence of regionally recognisable actors such as Boris Isaković (Karanović’s acting partner in A Good Wife), Jasna Žalica (recently seen in May Labour Day) and Alen Liverić (of No One’s Son fame) in supporting roles also works in the film’s favour.
Karanović has also developed a certain style as a director, based on intriguing and clear ideas, such as the camerawork by Igor Marović corresponding with the protagonist’s current state of mind, with the symmetrically arranged, static shots (usually taken from mid-to-long distance) and the more dynamic, hand-held ones both having their respective functions. The centrepiece scenes also look good, thanks to Lazar Predojev’s methodical editing. Production designer Dragana Baćović should also be commended for her work, since the sterile coldness of the sets corresponds with Mara’s milieu and her personality (or at least the façade of it), and the same goes for the discreet score composed by Ephrem Lüchinger.
Relying on the help of her co-writers Maja Pelević and Ognjen Sviličić, as well as Darko Lungulov, who is credited as a creative consultant, Karanović has made Mother Mara as a solid, controlled and well-thought-out piece of contemporary cinema. However, the lack of proverbial “dirt” in it sometimes makes it seem a tad too “doctored” to be heartfelt.