Filming the Bond: Mothers and Daughters in Cinema

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Image courtesy of CCCB.

With an intimate, self-reflective gaze, three disparate films hold space for memory, affection or mourning examine the relationships between mothers and daughters.

In Aparición, pétalo y lengua, Valentina Alvarado recounts, in fragmentary fashion, a dream of her mother, Mila. The film, presented on a double screen with live sound, is constructed from memories, colors, gestures and words that describe a bond marked by physical distance and a landscape inhabited by the artist in diaspora.

The sensuous images also appear in Kopfüber im Geäst, filmed as a personal diary by Ute Aurand, who portrays the years leading up to the death of her parents. The passing of time is evident in everyday scenes, family photographs, shared spaces and objects — a room, a cupboard, flowers in the garden — in an exercise of acceptance and remembrance.

Taking My Skin, by Sarah Pucill, proposes a visual and affective dialogue between the filmmaker and her mother, where filming becomes a symbolic process of separation and reconciliation in which time seems to stop. In Time Being, Gunvor Nelson confronts the difficult moment of saying goodbye to her mother. Finally, in Mourning Garden Blackbird, Anna Thew uses filming as a form of mourning and invocation, documenting her mother’s garden after her death.

In all of these works, the complexity and strength of the mother-daughter bond is revealed through cinema.

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