Rhythm is often defined by locales - while mountain people seem to be rather slow by nature, those born close to sea shores appear to be faster in their movements. So I wouldn't call this film "slow", but idiosyncratically paced, admitting that I might be wrong: maybe Nigerians are faster than what I believe, judging from this film. Then it would be a decision taken by director Andrew Dosunmu, making dialogs and reactions calm to the extreme. I could take this, but what really distanced me was composition within the frame: too often actions are seen in close-ups, even in moments when large crowds are gathered. Maybe we have been conditioned so much by traditional cinema that we expect to see a reaction from a listener when told something that might shock him or her... as the moment when the pregnant Adenike confronts her brother-in-law in his apartment. But once this is accepted and dealt with, one can enjoy this strong drama of choices, tradition and deeply-rooted beliefs, beyond any moral judgment of what is right or wrong. In spite of the endless list of producers and executive producers who capitalize on the work of the creative team, the most remarkable features in "Mother of George" are (besides the performances by Danai Gurira and Yaya DaCosta, as Nike and Sade, the two young women subjected to matriarchy rule and dumb males) the cinematography by Bradford Young and Mobolaji Dawodu's beautiful traditional costumes. The brightness and colors brought by the use of natural and artificial light and the garments, create an atmosphere of hopefulness and joy in the midst of so much sadness and obsession with parenthood. See it.
Review of Mother of George
