In the very last scenes of Ladybird by Greta Gerwig, there is no dramatic culmination or sweeping scene to conclude the story. Instead, the story ends with simplicity: a daughter calling her mother, a mother driving alone, and years of unspoken words unfurling in a singular, honest voicemail. It is this scene that solidifies the impact of Ladybird, a revolutionary coming-of age movie that strays away from typicality and instead pushes the spotlight towards a more different narrative: mother-daughter relationships. In the following years, movies such as Turning Red and Everything Everywhere All At Once would continue to use the same emotional themes, except this time with a sprinkle of fantasy and the multiverse. When examining the central core of all three movies, one thing is for sure; the narrative traces its roots back to Sacramento, California. It is here where Christine “Ladybird” McPherson and her mother Marion McPherson navigate what it means to grow up and eventually, let go.
An Ending That Changed The Film Industry For The Better
The quiet yet impactful conclusion of Ladybird is what changes the meaning of the entire film as a whole. While Ladybird is a coming-of-age story filled with teenage rebellion, self declaration and even a typical “bad boy” character played by heartthrob Timothee Chalamet, these elements are not meant to be the center of the narrative. Nonetheless, they are comparable to background music in a film scene. While the main storyline is engaging enough to keep the audience invested- the true narrative that carries the most emotional weight is the ever changing relationship between Ladybird and her mother Marion.
Redefining The Mother-Daughter Narrative Through Realistic Portrayal
Before the release of Ladybird, coming of age movies with female leads did not stray far from themes of conflict and eventual resolution that pointed to a deeper revelation for the characters involved. In other words, they were simplified. Parents, especially mothers, presented themselves as hindrances- they were either too protective, too out of touch, or just not there emotionally enough to witness and understand the growing character. The crescendo of the film usually meant an expression of resistance, but it is a common pattern to see that only one character was ever allowed to have any emotional depth. In the case of Ladybird, Christine and her mother seem to be intertwined, with both characters facing the same feelings of fear and vulnerability at different points in life.
The disordering of typical coming-of-age film themes is what sets Ladybird apart from the rest. Gerwig specifically gives each character their own place within the narrative, framing them both as flawed, yet relatable. Marion is an anxious woman- she worries about finances and believes that Christine does not appreciate how much she does for the household. Christine herself is dramatic, but equally as ambitious to make a name for herself outside of Sacramento. In scenes, Christine and her mother argue frequently. While these arguments are sharp tongued and filled with painful sentiments, anyone could be able to recognize that they are not caused out of hatred for each other- but instead out of love. In this way, neither of the women in the story pose the question of right or wrong, but instead present something more complicated: how can two people who love each other navigate the misunderstandings that come with growing up?
Conflict and Tension Rooted Within Reality
The cycle of tension and forgiveness between Christine and Marion are not used as devices in the storyline. In reality, it is what creates the plot itself, with everything else building off of it as a result. Each disagreement Christine has with her mother is meant to peel back layers upon layers of their distinct and differing personalities. Marion is terrified of inadequacy and not being enough for her family as much as Christine yearns for independence and a life to herself. Both of these things cause the women to be stubborn and stuck in their own ways, preventing them from being able to express affection towards each other without a misunderstanding. The direction of the film puts an emphasis on small details such as a sigh or a line whispered underneath the breath in order to reflect on how parents and children argue in real life. These accurate subtleties in the moments between Christine and Marion make it feel more real, which lets the audience understand the emotional complexity of their relationship because of how relatable certain scenes might be. Ladybird suggests through this that familial bonds are dependent on tension and misunderstanding as much as they are in times of happiness. It also suggests that in order to have a true connection, empathy and a willingness to understand are crucial. Christine would not have a life to live if Marion did not give it to her, just as Marion’s efforts and sacrifices for Christine would be pointless without her daughter’s growth and ability to lead her own life. Love between mother and daughter is not straightforward and simple, it can oftentimes be contradictory and chaotic. Ladybird emphasizes that reaching independence and growth is not about leaving everything behind without a second doubt, but rather by choosing to embrace, understand, and eventually honor the relationships and people that define who we are.
Expanding Territory: Turning Red and Everything Everywhere All At Once
The foundation of Ladybird in the years that followed did not stay confined to Sacramento, but expanded through new genres and creative storytelling. Turning Red and Everything Everywhere All At Once take these same themes of misunderstanding and empathy and loudens them for audiences in ways that reflect the world of the relationships on-screen. One is animated and metaphorical, and the other messy and entrenched in fantasy.
Turning Red follows the story of pre-teen Mei Lee who transforms into a giant red panda whenever she experiences any strong emotion. Her mother, Ming, is overprotective and overly involved, which reflects generational trauma and anxiety that is translated onto Mei as a result of her own upbringing. In a similar way to Christine and Marion, Mei and Ming find themselves trapped in an endless cycle of conflict. Their arguments are dramatic and loud, but the emotional values stay strong to the themes of the story. Each argument reveals vulnerability and mistranslated love, along with a struggle to balance one’s growing individuality under the pressure of familial expectations to be something else. The transformation into the red panda for Mei is a metaphor for adolescence and its turbulence, but the emotional aspect of the film continues to be grounded in a raw and relatable narrative. Underneath the surface, the blueprint that Gerwig created for Ladybird can be found- with themes such as indifference and love coexisting in an uncomfortable balance. The visual emphasis of the panda and its unpredictable transformations is a choice that is meant to reflect Mei’s feelings and turns the mother-daughter conflict into something symbolic.
For Everything Everywhere All At Once, the mother-daughter narrative is explored through an unbelievable multiverse adventure. Joy and her mother Evelyn Wang are experiencing a deteriorating relationship that is only worsened by threats from other dimensions. Joy feels invisible to her mother, and these feelings collide with Evelyn’s deep rooted anxiety, regrets and an everlasting desire to preserve her family. Joy is transformed into Jobu Tupaki, the main “antagonist” of the film. Although Joy is portrayed in this way, the formatting of the film ensures that the emotionality is never unseen. This duality is what allows for her inner conflicts towards her mother to be noticed, even through multiple realities. Beneath the fantasy premise of Everything Everywhere All At Once, the story still continues to be built upon what Ladybird defined years prior. Even throughout some of the absurdities that can be found in the film, it is to be noted that the main climax is not about defeating villains. It is an admission of understanding. Evelyn is meant to finally see things from Joy’s perspective, but Joy must first understand her mothers intentions. This reflects reality in the way that loud and aggressive mother-daughter arguments are not about who wins or loses, but rather the navigation of emotions and attempts of understanding. While these conflicts almost always cover up feelings of love, disagreement between both parties is not a failure to connect. It should be seen as a stepping stone towards growth. In the end, all three films rely on the acknowledgement of humanity in order to transition conflict into reconciliation.
Emotional Continuity Across The Films
Both films demonstrate Gerwig’s creation through deeply flawed and strong willed characters that cannot disconnect growth from personal struggle, but it also manages to take on a new form and expand itself into fantasy worlds and sci-fi. The common cycles of conflict that can be found throughout the films is still central, and places the mother-daughter bond and everything it comes with into a category of its own. The sequences and similarity in theme are the most important thing to note, as it showcases to the audience that family connections can also be as enthralling as an adventure or sci-fi film.
When put together, Ladybird, Turning Red, and Everything Everywhere All At Once show a shift in how the film industry decides to portray mothers and daughters. What once started in Sacramento has evolved into storylines that are relatable across all groups of people, as they are grounded in reality yet also have the ability to extend past it. All three of these films portray the mother-daughter dynamic as something that is not meant to be overcome, but rather embraced in its complications. These narratives also present the idea that the journey to reaching emotional depth from someone will almost always be imperfect. Mothers are complex human beings that function the way that they do as a result of many factors, such as their own childhoods, beliefs and the societal and familial expectations placed upon them. In the same manner, daughters are not always rebellious by choice; sometimes the choices they make are shaped by regrets and desires. Ladybird portrays the love that can be found in this dynamic and makes it known that it is quiet and can be expressed through disagreement or outward affection. Turning Red depicts inherited expectations and fears and how these things can affect relationships in ways that are overwhelming, yet caring. This is pushed further by Everything Everywhere All At Once, as the chaos of the multiverse serves as a metaphor for life and its struggles. In all of this, unspoken feelings increase the risks on a level that will never be comparable to an interdimensional threat. The continuation of themes across all three films frames mother-daughter relationships as something fluid, but also as something that can be shaped by circumstances, personality differences and even culture. The most interesting stories are always rooted in some level of tension and simultaneous harmony, but the growth that is needed in order for both to understand each other must come from misunderstanding and a wish to compromise. Growth for the mother-daughter duos that the audience sees in all three films is not condensed to a single moment, but instead a gradual collection of them.
The Rawness Of Ladybird
One scene in particular that defines Ladybird is when Christine is in the dressing room and she tells Marion that she wishes she liked her. Marion responds by saying “of course I love you”, to which Christine says “but do you like me?”. This scene is the most honest moment of the film, and encapsulates everything that the story has been built on. In just three lines, it takes away the cover from the tensions that define Christine and Marion’s relationship since the start. It also shows that Ladybird was never about rebellious teen angst and heartbreak, but instead the exchange of love and being loved in return. In Christine’s eyes, her mother loves her, but the question of whether she likes her is the validation she truly wants. While love might seem like it is enough, being perceived, understood and liked is equally important in order to make their relationship meaningful. This resonance is also found within Turning Red and Everything Everywhere All At Once, as the daughters in these storylines also explore pressure and rebellion, yet the desire to be understood is what drives the stories forward. Mei Lee struggles to define her own identity in the midst of her mother’s strict expectations, and Joy longs for her mother to notice her. These all reflect Christine’s original wish as each daughter yearns to be known and accepted alongside that maternal love.
Conclusion: Recognition Amidst Conflict
In each film, maternal love is not shown as something one-dimensional and rooted in protectiveness; it is rooted in depth and connected to many factors that create imperfect women. The emotional depth of a mother-daughter bond is not measured by a lack of conflict, but the complete opposite. While mothers and daughters may not always understand each other every single time, waking up and choosing to love someone is a decision that is made every single day, even if it can be translated or perceived incorrectly. Arguments and misunderstandings are all a part of this, but the act of choosing that battle in order to come to a conclusion of mutual comprehension is what truly characterizes the mother-daughter bond.
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