Critic Reviews

This brilliant, beautifully observed comedy is a joy to watch throughout. The Second Mother's narrative works on so many levels, reflected in the film's ambiguous title, and the characterisation is flawless.

Muylaert does a deft job here of plotting her story and setting up her characters and their predicaments in ways that immediately invite reflection.

As we switch sympathies from scene to scene, Muylaert forces us to think big about the clash between idealism and acceptance, a philosophical war that spills beyond the walls of this small story into every corner of our own lives.

Ms. Muylaert’s guiding principle seems to have been fearlessness, and her film, which was shot by Barbara Alvarez, is superb on all counts.

Ultimately, the main source of power behind The Second Mother is found in its effortless skips between character study, family drama, and silent socioeconomic warfare. The final result is a gleaming cinematic treasure as heartwarming as the film's final reassuring smile.

This Brazilian drama offers a nuanced, often funny look at family and social status, and Casé’s performance is both heartbreaking and hilarious.

The script is executed with enough naturalism to ward off complaints of contrivance — all the way up to a tidy, but quite satisfying, denouement.

Touching, funny, perceptive and simple enough to carry large audiences, The Second Mother is carried throughout by a hilarious, intelligent and soulful performance from veteran Brazilian actress, comedian and TV host Regina Case, surrounded by a solid supporting cast.

The Second Mother has the texture of lived experience, with characters who aren’t political symbols or social archetypes but struggling, flawed people trying their best to lead decent lives and pave a path to happiness for their children.

A kitchen, a guestroom, and swimming pool become battlegrounds. Though hardly revolutionary, “Mother” subverts conventions — both cinematic and social.