This charming tale of a 12-13 year-old boy tripped up by the conflicted emotions of early adolescence was my final screening at BIFF 2014. In the end it didn’t win the European Features prize but it has won other international prizes and it seemed to me a genuinely commercial film – although at 82 minutes it is a little short. I’m not best qualified to select films for children but I would want to show it to secondary school children (11+) and possibly younger. (I’m happy to be corrected if I’ve got this wrong.)
The central character is Raimonds (Kristofers Konovalovs) who is small for his age and is at that awkward stage when some of the girls in his class are tall and willowy, towering over him. He attends a specialist ‘orchestra school’ and his instrument is a saxophone. One day he plays a joke on one of the girls that misfires and he is required to take home a behavioural report to be signed by his mother. Mother (Vita Varpina, one of the professional actors) is a hardworking single parent (a doctor/midwife?). Raimonds thinks that she will react badly to his misbehaviour and he removes the page from his report book and prevents her receiving a message from the school. Of course, one lie leads to another and he finds himself in an escalating crisis which his friendship with Peteris, the drummer in the orchestra, unintentionally makes worse. Raimonds’ relationship with his mother will deteriorate further before it gets better but the film ends on an upbeat note.
The film is the second feature by Jānis Nords who trained formally after working in film and television and directing his first film in 2008. Mother, I Love You was shot on location in Riga in just 20 days with most of the cast being non-professionals. It looks and sounds very good and is directed with vitality. It can’t be easy creating a CinemaScope feature on the streets with a non-professional cast but he succeeds and I found it very enjoyable. I’ve seen several mentions of François Truffaut’s work in critical responses to the film and especially to Les quatre cents coups. There are certainly similarities but the tone of this film is quite different. Raimonds is not the ‘wild child’ presented by Jean-Pierre Léaud as Antoine Doinel and there is not that sense of romantic despair. Raimonds’ mother is not an uncaring parent – this trope has been passed onto Peteris who suffers beatings from his mother.
I’m not sure I’ve seen a Latvian feature before but the Press Pack for the film suggests that Raimonds “has to venture into Riga’s thrilling night-life”. This is a little hyperbolic. Raimonds visits a skate park (the actor is, the Press Pack tells us, a very good ‘extreme cyclist’) and he follows a young woman through the dark streets (she has something he needs). That’s as thrilling as it gets. Nords does not make the mistake of shifting the tone of the film. He neatly sums up his approach:
A seemingly minor misdeed can seem like grand offence bound to bring harsh consequences. Though Raimonds is faced with a moral dilemma – to act dishonestly and escape punishment or tell the truth and face backlash – I tried to avoid teaching my protagonist a moral lesson. Instead, I was looking to portray a child, who thrown into the wildest of circumstances and confronted with tough choices, manages to maintain humanity and gain conscience. In other words, a child who “grows up”.
I hope the film has more festival showings in the UK. It should be on general release but I fear it won’t get picked up. If it does get a screening near you, please go.