In a 1999 essay, Joyce Carol Oates wrote that “any form of art is a species of exploration and transgression.” Writer/director Davo Hardy has taken that message to heart in his provocative ensemble comedy Mothers, Lovers and Others.
With numerous unsimulated sex scenes punctuating the narrative, describing this film as sexually explicit might be considered an understatement. While Hardy is not the first filmmaker to incorporate the realistic portrayal of sex into his work, it may prove too challenging for the average viewer. Some scenes are shot quite unerotically, depicted as an ordinary feature of these characters’ lives, while others seem poised to titillate, feeling more pornographic. While sexuality is integral to the narrative, the function of the moments of intimacy aren’t always clear.
Mothers, Lovers and Others follows the intersecting personal and professional lives of a group of people who cross paths at an orgy. Married couple Graeme (Hardy) and Elijah (David Charlie) have been polyamorous for years, but impending fatherhood and changing desires force them to take stock of their relationship. Sensitive artist Rodney (Axle James) is excited to start his new teaching job until he encounters the lascivious and predatory Vincent (Jason Spindlow). August (Lindford Gilmour), an escort who specializes in rope bondage, struggles to find a new work-life balance when his niece (Ahlex Leyva) moves in with him.
The story centers on Graeme and Elijah as they grapple with aging, sexuality, and what it means to “settle down” when you’re in an open marriage. Hardy and Charlie give solid performances, displaying an easy chemistry and comfort as they navigate the ups and downs of their journey. Hardy’s script is introspective and incisive as it captures the intimacy and friction of a long-term relationship, finding honest moments of vulnerability and connection in their dynamic. However, the same care isn’t always extended to the rest of the characters. Rodney and August function more effectively as characters in Graeme and Elijah’s story than in their own, as they don’t have clear emotional throughlines or fully realized arcs themselves. Their scenes can drag comparatively as a result. With a considerable runtime of 2 hours and 16 minutes, there is opportunity to streamline.
The film’s production doesn’t always align with the taboo and transgressive subjects that the script attempts to tackle. Hardy challenges his audience from the film’s first moments with a striking opening credits sequence. The cast and crew’s names appear in glowing neon body paint on a series of writhing naked bodies interspersed with explosions of color. However, the rest of the film unfolds with a more sedate style, lacking the same vibrancy and personality. Set predominantly in ordinary-looking homes and workplaces, the cinematography (Spindlow) is more focused on the characters rather than exploring the space. The framing can feel haphazard, which distracts from the action, especially during the film’s intimate scenes.
Mothers, Lovers and Others has a tender beating heart and the confidence to tackle the nuance of sexuality without judgment. However, a stronger aesthetic eye and a tighter script would give its best elements the grounding force to really shine.
