That changed with the indie revolution.
The Western canon begins with a mother-son dyad that is literally divine. In Christian tradition, the relationship between the Virgin Mary and Jesus Christ sets the ultimate standard: the pure, suffering mother who watches her son die for a cosmic cause. This archetype—the Mater Dolorosa (Sorrowful Mother)—permeates Western literature. She is passive, virtuous, and her identity is entirely defined by her son’s mission. Every subsequent "good mother" in literature, from Marmee in Little Women to Mrs. Weasley in Harry Potter , owes a debt to this icon of self-sacrifice.
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Cinema quickly recognized that the perversion of maternal love makes for compelling psychological horror.
Ari Aster’s is the Psycho of our time. Annie (Toni Collette) is an artist and a mother of two, including a teenage son, Peter. The film reveals that Annie’s own mother was the leader of a demonic cult, and that Annie has been groomed to sacrifice her male children. The mother-son relationship here is a cosmic horror: Annie loves Peter, but she is also the literal instrument of his destruction because she cannot break the matrilineal curse. The film’s most terrifying line is not a scream but a plea: "I never wanted to be your mother." This admission—that the bond can be unwilling, forced, malevolent—shatters every sentimental trope. That changed with the indie revolution
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In cinema, films like "Boyhood" (2014) by Richard Linklater and "The Florida Project" (2017) by Sean Baker have offered nuanced and poignant portrayals of the mother and son relationship, capturing the everyday struggles and triumphs of family life. Weasley in Harry Potter , owes a debt
No discussion of cinema’s dark maternal relationships is complete without Alfred Hitchcock’s Psycho . The film introduced audiences to Norman Bates and his unseen, overbearing mother, Norma.
Norma Bates is perhaps the most famous invisible mother in cinema history. Hitchcock illustrates the ultimate manifestation of the "devouring mother," where the mother's toxic, puritanical voice is completely internalized by her son, Norman. The relationship is so destructive that it obliterates Norman’s sanity, causing him to adopt her persona to commit murder.
Perhaps D.H. Lawrence said it best in the epigraph to Sons and Lovers : "Bereft of her, the son would be lost. With her, he can never be a man." That is the cruel, beautiful paradox. And as long as mothers give birth to sons, artists will keep trying to untie—and retie—that unbreakable thread.