“The Mother and the Whore” is a film of rage and self-punishment, of arrogance and humiliation and, ultimately, of ferocious irony about pleasure and power, desire and submission, tnyfrontrow writes.
New York Film Festival
In “The Mother and the Whore,” there’s no mother and no whore. There’s a woman named Marie , who nurtures and indulges Alexandre; there’s another, named Veronika , who has lots of casual sex and says so. The title is cynical, macho snark that’s aimed at them; they aren’t the movie’s protagonists but the two women the protagonist finds himself caught between in a sharp-edged triangle. Like the entire film, the snarky title embodies Alexandre’s perspective.
In effect, Alexandre is a primordial incel, albeit one who has lots of sex. The movie gives fullest vent to his regressive ideas in its overwhelming centerpiece, a scene that lays bare the decisive wound of his rejection by Gilberte—a scene that’s focussed on her but from which she is absent.
“The Mother and the Whore” at times comes off as a kind of Freudian assassination of the French New Wave, with which Eustache personally associated. Born in 1938, he came to Paris at twenty, watched movies, and frequented the offices of, where his wife at the time, Jeanne Delos, was a secretary; Béraud recalls that “although he only wrote two articles, he was part of the ‘clique.
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