It makes sense that one of the protagonists of “Materna” is a fan of Jean-Pierre Melville’s existential neo-noir “Le Samouraï,” given that David Gutnik’s feature debut is itself a tapestry of moder…
” is a fan of Jean-Pierre Melville’s existential neo-noir “Le Samouraï,” given that David Gutnik’s feature debut is itself a tapestry of modern alienation and disaffection. Charting the plights of four women whose paths eventually cross on a New York City subway train, Gutnik’s fragmented feature debut is rooted in fraught mother-daughter dynamics and intertwined issues of regret, resentment, racism, classism and homophobia.
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean , Mona , Ruth and Perizad — whose pained expressions are exacerbated by the discomfort caused by an unhinged passenger intent on harassing female riders. It’s obvious that this individual will cause eventual trouble.
That makes Jean a kindred spirit to Mona, an actress who’s estranged from a Jehovah’s Witness mother determined to convince her daughter to return to the fold. Mona is caught between wanting to embrace and flee her mom, and Gutnik, Abdullina and Eshete’s script underscores that fact by having Mona both audition a scene about being a fetus in the womb who’s trying to fight off her mother’s abortion attempts, as well as engage in confrontational role-play with her teacher .
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