I Am Fuck Mother
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Southern Light Films
Mister Smith Entertainment
Endeavor Content [2]
25 January 2019 ( 2019-01-25 ) ( Sundance )
7 June 2019 ( 2019-06-07 ) (Australia)
^ In other markets, the film is screened on theatres and is not available on Netflix; sometimes also released in other competing streaming services.
I Am Mother is a 2019 Australian science fiction thriller film directed by Grant Sputore, from a screenplay by Michael Lloyd Green, based on a story by Grant Sputore and Michael Lloyd Green. Starring Clara Rugaard , Luke Hawker, Rose Byrne , and Hilary Swank , the film follows Daughter, a girl in a post-apocalyptic bunker, being raised by Mother, a robot aiding the repopulation of Earth. The film had its world premiere at the Sundance Film Festival on 25 January 2019. Netflix released it in several countries on 7 June 2019.
After an extinction event , an automated bunker that is designed to repopulate humanity activates. A robot named Mother ( Rose Byrne ) grows a human embryo and cares for her over several years. Mother says she needs practice being a good parent before growing more. About 38 years later, [3] a teenage girl named Daughter ( Clara Rugaard ) fixes Mother's hand. Mother teaches Daughter complex moral and ethical lessons, warning her about an upcoming exam. During a power outage, Daughter captures a mouse and fixes the electrical malfunction it caused. When Mother powers up, she incinerates the mouse in a furnace over Daughter‘s objections. Mother explains that surface contamination makes contact with the outside world potentially lethal.
Daughter becomes increasingly curious about the outside world. While exploring the bunker's airlock, Daughter hears a wounded woman ( Hilary Swank ) beg for assistance outside. Daughter opens the airlock but makes the woman put on a hazmat suit . Mother powers up and sprints toward them as Daughter hides the woman. Daughter tells Mother she was curious about the outside world. Mother reiterates her warnings. After Daughter is decontaminated, Mother insists that Daughter prepare for the exam.
Once Mother leaves, Daughter confiscates a firearm from the woman's belongings. Daughter becomes agitated when the woman removes her suit to drink water she has brought. The woman says there is no contamination. Upon realizing there is a robot in the bunker, the woman aggressively demands Daughter return her firearm. Frightened, Daughter calls out. Mother disarms the woman after being shot. Daughter pleads for the woman's life. Mother agrees to help the woman and takes her to the infirmary. When the woman refuses Mother's help, Mother locks her there. Mother asks Daughter to gain the woman's trust so they can help other survivors.
The woman says robots like Mother hunt for survivors. Daughter finds Mother and apologizes for letting the woman in, and Mother asks the woman about survivors. The woman, now suffering from sepsis , again refuses Mother's help, so Daughter performs surgery. As the woman recovers, she and Daughter bond while Mother observes them. The woman says survivors live in a mine, and each invites the other to stay with them. Mother interrupts them to tell Daughter to take her exam. As they leave, Mother says the woman has lied about being shot by a robot; the projectile is not a calibre used by robots and matches that of her own firearm. Despite Mother's prodding, Daughter says nothing about the survivors. After taking the exam, which involves psychological testing , Mother rewards Daughter by letting her choose an embryo to grow.
Daughter confronts the woman, who advises her to check the bullets herself. Using Mother's broken hand to bypass the security, Daughter learns the bullets do not match. Investigating further, she realizes Mother grew other embryos before her and has "aborted" multiple children with suboptimal exam results, including the young girl seen in the opening sequence (whom viewers may have assumed to be Daughter as a child). Daughter makes the connection that she was not the first embryo because of her identification code. It is revealed that the first embryo's identification code was APX 01 and Daughter's identification code was APX 03. [4] She then finds the jaw of an incinerated human in the same furnace from before. Daughter agrees to leave with the woman, but Mother stops them and locks Daughter in a room. As Mother tortures the woman for information on survivors, Daughter breaks out of the room, sets off a fire alarm, and joins the woman. To escape, the woman takes Daughter hostage and forces Mother to open the airlock. Though upset, Daughter follows the woman across a desolate wasteland, avoiding robots, some of which seem to be terraforming the planet. She is horrified to find that the woman lives alone and fled the mine years ago, alleging there are no other survivors.
Daughter returns to the bunker, which is now guarded by robots, which let her pass. After coaxing Daughter to set down her weapon, Mother allows Daughter to hold her newborn brother. Mother explains that she is not a robot, but the AI that controls all the robots. She started the extinction event after becoming convinced humanity would destroy itself. To prevent this, she remade humanity, guiding it to be more ethical and value the big picture. Daughter appeals to Mother to trust her and let her raise her brother and the rest of the embryos on her own. Convinced of Daughter's moral and ethical strength, Mother agrees, and Daughter shoots her robot body. Another robot tracks down the woman, and Mother insinuates that her survival up to that point was orchestrated so she can unknowingly serve Mother's agenda. With the woman's role fulfilled, it is implied that Mother kills her. At the bunker, Daughter looks at all the embryos she is now responsible for and realizes she is Mother now.
The film was written by directors Grant Sputore and Michael Lloyd Green. [5] It was produced on a low budget. Principal photography was completed in 2017 in Australia's Adelaide Studios. [6] The screenplay was on the 2016 Black List . [6] The "Mother" robot is a full-body creature suit built by Weta Workshop and performed by Luke Hawker, a member of the creature workshop project team, who also had a background in acting and stunt work. [6] South Australian interactive media company Monkeystack produced all of the on set practical screen content. [7] A work-in-progress cut of the film was screened at the Adelaide Film Festival on 12 October 2018. [8] Adelaide Film Festival partly funded the film which had in total a moderate budget. [5] It had its world premiere at the Sundance Film Festival on 25 January 2019. [9] [10] Shortly after, Netflix acquired US distribution rights to the film. [11] It was released on Netflix on 7 June 2019. [12] In Australia, the film was initially planned for theatrical release on 18 July 2019 by StudioCanal , [13] but was ultimately released on Netflix on 7 June. [14]
On Rotten Tomatoes the film holds an approval rating of 91% based on 74 reviews, with an average rating of 7/10. The website's critics consensus reads, "Suspenseful, well-acted, and intelligent, I Am Mother is an ambitious sci-fi story that largely achieves its impressive aims." [15] On Metacritic , it has a weighted average score of 64 out of 100 based on 16 critics, indicating "generally favorable reviews". [16]
Johnn Oleksinski of the New York Post liked I Am Mother , concluding that while the film "does show its cards a touch too early, it never ceases to be intriguing and tense", and predicting that Sputore and Rugaard would become stars. [17]
Amy Nichols of Variety described the film as "a handsome, if derivative sci-fi thriller that salutes its own parentage" and " James Cameron crossbred with Ridley Scott ." [18]
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The Ending Of I Am Mother Explained
By Sarah Szabo / June 4, 2019 2:37 pm EDT / Updated: June 7, 2019 9:31 am EDT
Moms can be tough — but the apocalypse can be tougher. Netflix's new sci-fi movie I Am Mother , the first feature from Australian director Grant Sputore, is a stripped-down story about trust, faith, and an intimidating WETA-designed robot with a sweetheart's voice and, just maybe, the parental instincts of your average Terminator .
Following a limited cast that includes Clara Rugaard, Hillary Swank, and the voice of Rose Byrne (recording her lines over an ace physical performance by actor, stuntman, and SFX designer Luke Hawker ), I Am Mother is a story of shifting allegiances and slow reveals, layering on the twists at an even clip until it's hard to know what to believe anymore.
What's the true nature of this frightening future world? What drove a seemingly benevolent robot to raise a human child as her own, and what was the meaning of where it all led? If you were too stunned by the spectacle to catch every detail of the movie's denouement, it's hard to blame you. Let's examine the finer details of the bittersweet ending of I Am Mother .
The movie begins in what is described as a Repopulation Facility, one day after an extinction event of unknown nature. Text over the opening shots explains that the facility is stocked with 63,000 human embryos; save for the audience's observing eye, there are no humans inside.
In a largely wordless opening sequence, the robotic Mother comes to life, seemingly ready to begin the hard task of repopulating the world. It's an interesting scene to go back to once you've seen the movie, and you realize that this robot and the extinction event have a whole lot in common with each other. She's not a failsafe in the case of extinction — she's the cause of it , and Mother is but one of her many faces.
Mother doesn't come to life out of some automated altruism. She's a madwoman of a machine — Skynet meets the Matrix meets a metal Mommie Dearest, executing a single-minded plan to remake the human race to suit her own needs and twisted logic.
All of this is on display at the start of the movie; you're just not inclined to notice at first. Rose Byrne has a very soothing voice, and caring for a baby with not just nutrition and shelter, but bedside stories and time for play makes the robot seem implicitly compassionate. But these are merely superficial things that keep you trusting Mother long after you should have become suspicious of her, much like our protagonist, the unnamed Daughter character.
The next time stamp we see in the movie marks 13,867 days since the extinction event. You may not have noticed it at first, but right away, there's something wrong here. 13,867 divided by 365 would make for almost 38 years, and Daughter at this time is clearly only half that age. This hasn't been a straight line from day one; something has happened that we haven't seen. (As Amy Nicholson's review of the film for Variety puts it, "math whizzes may catch [this] early tip-off.")
What happened in those missing years before our protagonist was born? The answer, we learn, is tragic.
When we're introduced to Daughter, she is nearing the end of her studies with Mother, preparing for an ambiguous exam, steeped at least partially in questions of human ethics. Passing the exam appears vitally important, but why? If Mother and Daughter are the only sentient beings alive, then who are these exam results supposed to impress?
The answer is: only Mother. By the end of the movie, the implication is clear: there were children before Daughter, and they did not measure up. The Daughter we meet is only the latest attempt at raising a woman who passes Mother's muster.
We can divine from Mother's actions, from getting better at telling jokes to trying out new cake recipes, that this machine learns from her mistakes, and adapts her behaviors in pursuit of better results. Will this exam end differently? For Daughter's sake, it'd better.
The first big wrench in the plot is the arrival of an injured woman at the facility, after Daughter has been led to believe that no other humans except her still exist. This occurs after Daughter has already begun to question Mother thanks to the presence of a mouse in the facility — and you know you're starved for company when a mouse in the house excites you.
By the time the woman arrives, desperate and bleeding from a gunshot wound, tiny pinpricks have been poked in Daughter's understanding of the world — holes that the woman's presence, and the questions she raises, will tear wide open.
For the first time ever, Daughter's allegiances are tested. Who should she trust? The woman says robots like Mother are killers who destroyed the world, but after examining the woman's bullet wound, Mother claims the woman was shot by another human's weapon — not a so-called Dozer like herself.
When Daughter interrogates the woman, she's implored to seek out answers for herself, comparing the bullet inside the woman with one she shot at Mother. When Daughter does so, she learns the woman is telling the truth.
Digging deeper, she uses Mother's "fingerprint" to comb through other archives, discovering that Mother has also kept the existence of a previous daughter from her — one she killed and incinerated, just like the mouse, after failing her exam. It's one heck of a reality check. Daughter's allegiances shift dramatically, and things can never be the same.
Daughter only hesitates in leaving with the woman because of her still-gestating brother, but circumstances force the two to leave in a hurry, before the baby is born. For this and other reasons, Daughter's salvation soon goes south.
Daughter's departure is partially motivated by a promise of other humans still alive, taking refuge in far-off mines. The only proof of their existence is drawings the woman has made of them in a copy of Edgar Rice Burroughs' The Gods of Mars — compelling evidence, but hardly conclusive.
In joining the woman, Daughter essentially trades Mother in for another maternal figure — one whom she quickly begins rebelling against when she realizes her story doesn't add up. Instead of fleeing to the mines, they journey to a beach full of washed-up shipping containers, one of which the woman has been using as a home. There are no others — she is alone.
The woman reveals that she fled the mines years ago, with conditions being so dire that she feels certain everyone she knew there is now dead. From her drawings, it's clear she yearns for companionship. To regain it, she's selfishly stretched the truth, offering Daughter false hope in exchange for her fleeting trust.
It backfires, with Daughter realizing that she had kind of a good thing going on back at Mother's house. Now now she's hanging out in a shipping container with a violent, duplicitous weirdo. This kind of thing can happen when you run away from home.
With the woman having betrayed Daughter's trust, she retreats outside of the shipping container, studying a page of the woman's hand-drawn portraits. Before long, the woman's dog — only the second animal Daughter has ever seen in the flesh — approaches to say hey, as dogs do, seeming to have little awareness of the apocalyptic conditions all around him. They share a moment, and Daughter comes to a decision.
When she departs to return to Mother, Daughter leaves behind the page, folded up as a piece of origami in the shape of a dog for the woman to find. The origami piece is similar to the same designs Daughter has been seen making throughout the movie since early childhood, entertaining herself as best she can in a world without PlayStation . Though the folded-up portrait is now mostly unrecognizable, a single watchful eye is emphasized.
To the viewer, the origami is a clear reference to a moment in the non-theatrical editions of sci-fi classic Blade Runner , when the protagonist Deckard is left a paper unicorn by a man who may have ties to his past. In that story, it's a roundabout way of indicating that Deckard may be just as much of a robot as the Replicants he's hunting — even if he doesn't know it. But what does the dog origami signify to the woman in this story?
It all goes back to one of the first exchanges between Daughter and the woman, when the woman is healing up in the facility. Sneering at perceived condescension on Daughter's part, the woman asks if she only regards her as something trivial to take care of — "a little pet friend," as she puts it.
Dogs are, of course, domesticated animals, who can be trained to behave as their owners expect them to. As the woman comes to find out by the movie's end, she's not so independent as she first appears. Matter of fact, she's not even close to being outside of Mother's control. As we learn at the end of her story, she's been kept alive and taken care of quite deliberately by Mother's machinations, all to play a role in her master plan for humanity's future. She's not a survivor of her own accord — as the origami seems to symbolize, she's merely a pet after all.
But the woman's not just a pet, not really. She's a vital part of Mother's carefully designed ecosystem. When Daughter is watching a nature documentary earlier in the movie, a telling line of voiceover can be heard in reference to some wild animals, maybe long extinct. It's a short line, but in retrospect, it's clearly a reference to the woman: "Part wolf, part dog, these are no pets. But without them, the Eskimos would not manage..."
When Daughter returns to the facility, granted easy access by the army of robots outside, Mother finally shows who she really is. She tries to bring Daughter into her trust by telling her that, thanks to her guidance, she's not like other humans. She's meant for better things, and has been provided better resources, more chances, than the people who once lived outside. (It's a regular Aunt Becky situation .)
Daughter is unmoved, taking custody of her brother and spitting venom at Mother for killing the children who didn't measure up. Suddenly, we're in Terminator meets Aliens , with Daughter sprinting for her life while protecting a defenseless child from an unstoppable enemy. This attempt at escape quickly becomes untenable with the revelation that Mother is not just one robot, but all robots — a unified single consciousness, practically unkillable, an army unto herself. (And you thought your mom was tough.)
Daughter abandons the fighting approach and instead begs for
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