Motherland
Genre: Drama
Directed by: Evan Matthews
Starring: Miriam Silverman, Holland Taylor, Nestor Carbonell
Release Date: TBD (Screened at the Dallas International Film Festival)
Platform: TBD
Rating: 3/5
By Crystal Justine
“A film that makes you think, even if it doesn’t fully make you feel.”
Evan Matthews’ MOTHERLAND brings a thought-provoking, dystopian concept to life, where in society parenting is no longer a personal duty but a state-regulated process. In this alternate present, motherhood is viewed as a burden that deprives women of time, identity, and independence. Instead, babies are handed over to government-run child centers, and parents are free to pursue lives without the responsibility of raising their offspring.
At the heart of this world is Cora (Miriam Silverman), a loyal rule enforcer who begins to question everything when she discovers a startling truth that one of the children in the system bears a birthmark she remembers from the baby she gave away many years ago. What follows is a slow unraveling of her indoctrination, a growing rebellion fueled by the instinctive and emotional bond between mother and child.
The film’s strongest asset is its concept. Fans of The Handmaid’s Tale and Children of Men will likely be drawn to the film’s questions about bodily autonomy, state control, and the often invisible emotional labor of motherhood. Matthews takes care to show that the connection between mother and child doesn’t begin with parenting—it starts in the womb, where a woman is expected to form no attachments yet inevitably does. That early bond, and the aching aftermath of severing it, are depicted with genuine emotional weight.
Silverman anchors the film with a solid performance. Her transformation from cog in the machine to quietly defiant mother is believable, though it never reaches the gut-wrenching heights needed to elevate the film. Holland Taylor, always a delight, plays her character with poise, but the role lacks teeth. She’s no dictator, and the film misses a prime opportunity to explore a chilling antagonist who genuinely believes she’s liberating women by breaking their bonds with their children.
The pacing is where MOTHERLAND falters most. While presented as a dystopian drama with thriller elements, the film leans heavily into slow-burn zone. Several long stretches drag, with scenes that feel more meditative than necessary. For some, that slow, deliberate pace may enhance the weight of the world Matthews is building. For others, it may feel like a missed opportunity for urgency and tension.
Technically, the film is competent with muted color palettes and sterile production design that reinforces the emotional distance in this society, but it lacks visual punch or style. The direction is serviceable, but nothing here screams auteur. Likewise, the performances, while all generally good, don’t feature any true breakout moments.
At the end of the day, MOTHERLAND is a film that makes you think, even if it doesn’t fully make you feel. Its societal critique on motherhood, state control, and identity hits on timely topics and sparks worthy conversations. However, it never quite elevates itself into more. It’s a decent film with a great premise—a thoughtful, if uneven, watch that may resonate most with fans of quiet dystopias.
