Word: motherhood
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...Motherhood certainly agrees with Thurman, who is mom to two kids by ex-husband Ethan Hawke. At the cusp of 40, she looks radiant even with disheveled brown hair and non-sexy librarian glasses. The action hero goddess is virtually unrecognizable, but there’s something strangely appealing about how dysfunctional the 6-foot-tall Thurman looks running around in her tattered aprons and dorky Birkenstocks. Motherhood for Eliza is ultimately about accepting limitations on her time and energy, and learning slowly that children are what motivate her to live a passionate life. Thurman fully embraces the many facets...
...Motherhood didn’t quite work out for Uma Thurman when she was Quentin Tarantino’s yellow-suited Bride in “Kill Bill.” But in writer-director Katherine Dieckmann’s latest low-budget undertaking, Thurman finally gets a shot at The Bride’s fiercest unfulfilled dream: to give birth to and raise a child...
...character is lacking in the film’s narrative. Eliza’s day begins ordinarily enough as she buys groceries and party decorations for her daughter’s sixth birthday party, later deciding to enter a writing contest in which she must describe the essence of motherhood in 500 words or less. As the day wears on, however, it feels as though Dieckmann piles a whole life’s worth of unfortunate events into the few hours she has. Soon enough Eliza has had a minor breakdown, a confusing interaction with a sexy younger delivery...
...think it’s interesting that people assume that motherhood isn’t worth a complex portrait in film,” says Katherine Dieckmann. The indie director—whose previous credits include directing Paul Rudd in “Diggers” and R.E.M. in the “Shiny Happy People” video—attempts to remedy this fact with her new film, “Motherhood.” The film marks a departure for Uma Thurman, who plays the protagonist, Eliza, a harried Manhattan mother who struggles to throw her daughter?...
Given the vast array of previous family-focused films, Dieckmann strove to create a realistic yet complex portrait of motherhood. “I felt, as a filmmaker, very frustrated with the lack of multidimensional mothers on film,” Dieckmann says. She didn’t want to create a suburban family comedy (“We’ve seen that movie,” she explains), nor did she aim to produce yet another film about a mother’s psychological crisis. “I didn’t want [to portray] the mother...