La familia en el diván

'An elderly mother visits a furniture store, and refuses to leave a couch that she sits on'. If, after that synopsis you still go ahead and watch, then you should be open minded enough to accept what follows?

Great acting performances by everyone involved, especially Ewan McGreggor, who gives possibly the performance of his career. The dialogue, whilst sometimes bland, is suited to the family dynamics of the three siblings and their mom, in what is an increasingly bizarre scenario. What does it all mean? Who knows, but it engrossed me to the end. You either take the journey or you hop off at the first stop. The ending is unexplained, surreal, maybe dream like, and undoubtedly allegorical ( of what? I have my own view but its likely wrong so will not explain here).

Mother Couch gave me a similar vibe to 'His Three Daughters' which I also saw very recently and which also split viewers into two camps.

Surreal yet drab drama "Mother Couch" is another pretentious art-house bore that tries so hard to be clever with its analogies & hidden meanings that it ends up as incomprehensible tosh... wasting in this case a fine & under-rated cast. When bitter old Ellen Burstyn refuses to leave a run-down warehouse-like furniture store run by Taylor Russell (terrific) & F Murray Abraham, her kids Ewan MacGregor (with wife Lake Bell), Rhys Ifans & Lara Flynn Boyle get involved... resulting in old (and new!) wounds opening. This debut of writer (adapting Jirker Virdborg's novel 'Mamma I Soffa') / director Niclas Larsson won't have many hungering to see what he serves up next. Hard pass.

I must say at the outset that I wanted to like this film, because symbolic, metaphorical, low-budget, chamber-drama-like works are very close to my heart. Unfortunately, Niclas Larsson (who is responsible for such great works as... well, yeah) hasn't the faintest idea how to direct a film or write a script, because the end result is so fake, incoherent, wannabe-deep, boring and so frustratingly roundabout that anything the film was trying to say (not that there haven't been a million films made about grief work and letting go...) is completely meaningless because it just babbles, stammers, and then urinates under itself.

I have no idea how Larsson was able to blackmail these stars into appearing in this botched film experiment, perhaps kidnapping their child or poisoning them with the venom of a rare species of South American snake for which only he has an antidote. In any case, it is certain that "Mother, Couch" will not ennoble anyone's CV. But one thing must be acknowledged: it's a perfect film for snobs, who are ready to project everything and its opposite into the infertile, barren nothingness at any time, if it makes them feel that they are more than the average cinema-goer, despite their mediocre intellect and awful taste.

"Mother Couch" (2024), directed by Niclas Larsson, is an ambitious and daring exploration of the abstract, fusing dark drama and comedy in a way that defies traditional storytelling.

What stands out most in "Mother Couch" is its bold attempt to blend art with narrative. Larsson's vision feels more like a visual art installation than a conventional film, designed for viewers who have an appreciation for the slow, dark, and often bizarre corners of cinema. The film's pacing is deliberate, with long, introspective scenes that some might find tiresome, but those with a passion for art-house films will likely find it thought-provoking. This is a movie that requires patience and an openness to unconventional forms of storytelling.

At its core, "Mother Couch" seems to be about the art of healing, showing how unresolved family dynamics can manifest in strange ways. The characters, though emotionally distant at times, ultimately search for closure, making this film a contemplative piece on the complexities of human relationships.

While it may not cater to mainstream tastes, "Mother Couch" is a unique entry for cinephiles who seek something different, especially those interested in the fusion of art and film. It's an experimental journey that, while imperfect, deserves credit for its originality and daring approach to dark comedy.

I think this film deserves a review even though I'm still processing some of the scenes.

This is not an easy story to describe. So I understand some negative reviews that may be posted.

Much of the investment is with McGregor's character and his relationship with his mother. This unfolds initially as a straight-forward affair of a son whose mom refuses to leave a furniture store (staking her claim on a specific couch in the store).

As the story progresses, you begin to realize not everything is as it seems. Once you realize this, the film takes on a different light and the focus on McGregor's character becomes a bit more justified.

Still, I think the brother and sister deserved a little more substance of character than what was provided. Kudos to Lara Flynn Boyle for making the most out of something less.