Cinema has the power to transport us to different worlds, and Hilmar Oddsson’s Driving Mum does precisely that, but with an extraordinary twist. This film transcends the traditional confines of the road movie genre, blending reality with surreal elements to create a mesmerising experience.

As I watched, I found myself drawn into a profound, trance-like state, held captive by the stark, awe-inspiring beauty of the Icelandic landscape. This film is a bold redefinition of cinematic storytelling, inviting audiences into a world where conventional filmmaking boundaries are not just crossed, but reimagined and transformed.

Exploring Familial Ties: Jón and His Mother Through Irigaray’s Lens

At the heart of Driving Mum lies the intricate relationship between Jón (Þröstur Leó Gunnarsson) and his recently deceased mother (Kristbjörg Kjeld). Their lives, intertwined through years of solitude and mutual dependence, form the narrative’s pulsating heart.

Employing feminist theory, particularly the philosophies of Luce Irigaray, offers a unique approach to dissecting their intricate relationship. Irigaray’s focus on gender, language, and psychoanalytic theory provides a distinctive lens for understanding the dynamic between Jón and his mother.

Her ideas on the representation of women, as entities distinct and valuable in their own right, resonate deeply within the film’s portrayal of Jón’s mother. She remains a significant figure, challenging the passive maternal archetype commonly seen in cinema. This portrayal aligns perfectly with Irigaray’s concept of female subjectivity, where women are active, influential beings with autonomous identities.

Intersecting Theories and Narratives: A Feminist Perspective in Driving Mum

Further exploring Irigaray’s philosophy (notably her works from 1985a, 1985b, and 1993), her concept of ‘sexual difference’ provides a crucial framework for analyzing the film’s narrative. She advocates for the recognition of the feminine as distinct and valuable, a notion reflected in how Jón’s mother, even in death, remains a significant and influential figure. Her identity and impact are in no way lessened by her passing or overshadowed by her son’s presence, highlighting the enduring nature of the maternal bond and the strength of female influence.

This portrayal, therefore, challenges traditional gender roles and power dynamics, aligning with Irigaray’s philosophy and making Driving Mum an insightful exploration of familial relationships and the roles women play within them.

Echoes of Psycho (1960): Maternal Archetypes in Hitchcock’s Classic and Driving Mum

The mother figure in Alfred Hitchcock’s Psycho offers an intriguing parallel to the mother in Driving Mum.

In Psycho, Norma Bates is a dominating and almost spectral presence in her son Norman Bates’s (Anthony Perkins) life. Her influence, though more sinister than in Driving Mum similarly emphasises the enduring and pervasive nature of the maternal figure. Both films depict the mother as a central, influential character, transcending life and death to significantly impact the son’s life.

Gilles Deleuze and Félix Guattari’s Anti-Oedipus: Reframing Maternal Influence in Cinema

Moreover, integrating the philosophy of Deleuze and Guattari, especially their concept of the Anti-Oedipus, further enriches this understanding. While they challenge Freud’s deterministic view of maternal influence, as seen in Psycho, their theories also resonate with the portrayal in Driving Mum. In both films, the mother figure extends beyond traditional psychoanalytic interpretations, suggesting a more complex and multifaceted relationship between mother and son. Consequently, this perspective moves away from traditional, often oppressive maternal figures, advocating for a decentralized understanding of influences.

Through this analytical lens, the relationship between Jón and his mother in Driving Mum, as well as Norman and Norma Bates in Psycho, are seen as representations of this more fluid dynamic. These films, therefore, not only align with Irigaray’s feminist perspective but also resonate with Deleuze and Guattari’s critique of conventional structures. They offer a multifaceted exploration of the maternal archetype in cinema, presenting both Driving Mum and Psycho as profound explorations of familial ties, gender roles, and the complexity of human relationships.

The Visual Symphony: Óttar Guðnason’s Cinematographic Artistry

We shall now delve into the film’s form. The cinematography in Driving Mum, meticulously crafted by Óttar Guðnason, emerges as a visual symphony that harmoniously complements the narrative’s depth. Each frame skillfully captures the ethereal beauty of Iceland’s landscapes, showcasing vast, unyielding vistas. The deliberate choice of black-and-white imagery serves to intensify the starkness of these environments, thereby creating a visual language that resonates deeply with the film’s emotional and thematic nuances.

Furthermore, this monochromatic approach, which evokes a sense of timelessness and universality, adeptly mirrors the emotional landscapes of the characters. In alignment with Irigaray’s philosophies, the cinematography boldly challenges the conventional portrayal of the landscape as merely a backdrop. Instead, it transforms it into a space where the feminine is vividly expressed and explored. This approach effectively reflects the complexity and depth of female subjectivity, a theme fervently advocated by Irigaray.

The Interplay of Reality and Surrealism in Cinematography

Guðnason’s cinematography skillfully bridges the gap between reality and the surreal, notably echoing the distinctive style of filmmakers such as Terrence Malick.

Furthermore, the expansive shots he employs masterfully encompass both the characters and their surroundings, effectively embodying their inseparable bond with the land. This technique, therefore, not only highlights the majesty and harshness of the Icelandic terrain but also underscores its pivotal role in shaping both the narrative and the characters’ emotional journey.

Moreover, the human figures, often dwarfed by their environment, become mere small elements within the broader natural tapestry. This depiction strikingly reflects themes of isolation and the overwhelming force of nature.

Consequently, this visual metaphor aligns seamlessly with Irigaray’s views on the feminine, portraying the landscape as a powerful metaphor for the unexplored territory of female subjectivity.

The Final Act: Catharsis and Conclusion in Driving Mum

As the film unfolds, Oddsson’s direction masterfully blends introspection and humour into Jón’s journey. The physical trek across the rugged Icelandic terrain parallels the protagonist’s quest for self-discovery and reconciliation with unfulfilled aspirations. The presence of his mother, though no longer alive, continues to exert a profound influence, adding a layer of dark humour to the narrative.

This journey transcends the mere fulfilment of a final wish; it becomes an exploration of understanding and acceptance, mirroring Irigaray’s views on the transformative power of female influence.

Epilogue: The Enduring Power of the Feminine in Film

In conclusion, Driving Mum stands as a cinematic masterpiece, defying easy categorization. Its blend of stark realism, surrealistic elements, and emotional depth, coupled with Guðnason’s breathtaking cinematography and the film’s nuanced exploration of feminist themes through the lens of Luce Irigaray, make it a standout piece in contemporary cinema.

Driving Mum not only entertains but also provokes thought, aligning perfectly with Irigaray’s philosophy by challenging traditional perceptions and encouraging a deeper understanding of the complex tapestry of human relationships and the powerful influence of the feminine.

Bibliography:

Deleuze, G., & Guattari, F. (2005). A Thousand Plateaus: Capitalism and Schizophrenia. (B. Massumi, Trans.). London: Continuum. (Original work published 1980).

Irigaray, L. (1985a). Speculum of The Other Woman. (G. C. Gill, Trans.). Ithaca, NY: Cornell University Press. (Original work published 1974).

Irigaray, L. (1985b). The Sex which is Not One. (C. Porter with C. Burke, Trans.). Ithaca, NY: Cornell University Press. (Original work published 1977).

Irigaray, L. (1993). An Ethics of Sexual Difference. (C. Burke & G. C. Gill, Trans.). Ithaca, NY: Cornell University Press. (Original work published 1984).