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MOM'S HELPING HAND | Short Film | Adult Time
20-year-old Aaron (Codey Steele) is in bed and opens his eyes after a night of slumber. Both of his arms are in slings and his head is wrapped in a bandage. He tries to reach for a nearby remote but he winces in pain and sighs angrily, looking sad and frustrated.

He looks down at his lap and says 'nnnnh... not again... fuck...'

We see his legs fumble uncomfortably under his sheets as he squirms around a bit - his face looks like he's trying hard to concentrate. We get the sense he may be trying to masturbate but he has to be careful moving his upper body. He tries to move his hands lower but it's clear he can't reach.

In the midst of these attempts, his step-mom Ruth (Kit Mercer) arrives at the door and is about to pop in to say good morning. She notices what he's doing and watches for a moment in shock and a bit of sadness. He doesn't notice that she's there. Finally, Aaron gives up with a desperate cry of frustration. Ruth looks on, a sympathetic expression forming on her face.

When Ruth comes into the room, Aaron snaps at her angrily. He apologizes, explaining that the accident and the injuries have taken their toll on him. Knowing that his anger really comes from his frustration, Ruth offers to give Aaron some release. After some initial reluctance, he agrees.

Aaron lays back, taking a deep breath as Ruth slips her hand under the covers and begins to take care of him.

Ruth only wants to give Aaron some relief, but Mom's helping hand is going to have consequences that neither one of them could ever have anticipated...

A man goes for a walk through the countryside with his dying mother.
A slow and poignant story of love and patience told via a dying mother nursed by her devoted son. The simple narrative is a thread woven among the deeply spiritual images of the countryside and cottage.—Archie Moore
In "Mother and Son" Sokurov used special lenses, distorting mirrors placed on the sides of the camera, and painted glass set directly in front of the lens to create his unique dreamlike world.
Son: Don't die then. Who is forcing you?
After opening with a distorted tableau, Sokurov moves slowly into images of stones, grass; he's a naturalist who's addicted to nature; a humanist who's dedicated to the intimate. (The mother and son in his film are not characters or types or ciphers or "performances.") The camera movements are so beautifully slow that they're hard to describe -- imagine the precision of "Ordet" had it been made in color, those images still and hazy, like pastoral paintings with glowing hues of light. They're some of the purest images I've ever seen, comparable to "Barry Lyndon" and "McCabe & Mrs. Miller." What is so startling is that the color makes the film seem modern -- and such a hazy yet lucid color, Maddin-like in its Expressionism and schemes: fable-like and emotionally incestuous. It exists outside time, its only indicator a train within the film; existential emptiness represented visually. The film passes by quickly, with the perpetual wind that sounds like the ocean. It's as if the film is a progression of the most beautiful visions imaginable, the various images of death.

It is something different -- art should be unique, if we're talking about art in the vein of Picasso, Shakespeare, and Bach, shouldn't it be an experience like no other? In fact, this could easily be compared to Tarkovsky, the most obvious comparison. But for me it feels more like Dreyer without the self-conscious dialogue. It couldn't be said to be complex -- it's two characters talking rather simply. But what it lacks in complexity it makes up for in singularity. (The images are at times so rich that it's almost comical -- is this a film set or not?) It's the kind of film that's easy to make fun of, intruding on the most personal moments of this pathetic-looking mother and her son who constantly speaks in a hushed tone -- you imagine one of those "Seinfeld" Village Voice parodies. It isn't emotional or intellectual; I don't even know if it's profound. But it's a masterpiece, plain and simple. 10/10
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