Mothers, Lovers & Others

Mothers, Lovers & Others is not for the prudish. Indeed, to say that it features full-frontal nudity and graphic sex is a bit like saying Better Man features scenes with a monkey. The explicit nature will take all the headlines, but does it rise to the occasion when it matters?

 

The film follows the lives of different attendees at an orgy. Couple Graeme (Davo Hardy) and Elijah (David Charlie) are balancing the complexity of an open relationship with a desire to settle down and start a family. Shibari expert August (Lindford Gilmour) runs his business from home, trying to keep his endeavour quiet from niece Kelly (Ahlex Leyva). And teacher Vincent (Jason Spindlow) deals with the fallout of his awful conduct. These lives intertwine throughout the film as the odd and unconventional dynamics required to navigate the party world place the cast into uncomfortable situations.

 

Mothers, Lovers & Others is a graphic, uncompromising look at unconventional human sexuality that threatens to shock even the least prudish audiences. Sex and nudity are gratuitous throughout the film – though interestingly not always actually sexualised. Director and star Davo Hardy boldly focuses on how sex really works in his character’s lives – sometimes as a glorious and empowering rush of pleasure, other times as a difficult, burdensome dance between people where pressure and power exist in unwelcomed forms. There are many times the film walks the line between pornographic and prestige – such as in a long shibari session between Elijah and August where neither man quite knows the direction their desires are taking them.

 

Hardy has a talent for identifying gripping dynamics such as this, however there is otherwise a lack of artistry to the direction that means such daring sequences are diminished by their presentation, rather than raised by them. The unfortunate impact is that the nudity comes to feel like a crutch – given that it is often the most interesting thing happening with the scene. This is not so much of a problem in quieter moments of emotional heft, such as Graeme and Elijah’s discussions about their future, but the (many!) sex sequences are lessened by the limp direction, creating an uncomfortable sense for the viewer of being an intruder.

 

The ensemble structure allows the filmmakers to follow the lives of different attendees at the orgy. By far the most interesting and moving of these are those of Graeme and Elijah. Their turmoil about the direction of their relationship explores some fascinating areas and each of the pair feel fully developed and believable – complimented by great performances from Davo Hardy and David Charlie. The remaining storylines pale in comparison, with Lindford Gilmour’s August’s meandering aimlessly around his relationship with his niece and personal liaisons whilst others are underdeveloped and easily forgettable.

 

It makes for an intriguing and difficult final assessment for the film. A lazy critique would say that the emotional and considered writing are its highs and the graphic sex are the lows. But the film’s construction, thematics and unconventional approach means one can’t really exist without the other. Graeme and Elijah’s relationship is ultimately challenged by their desires – and director Davo Hardy deserves credit for presenting both the good and bad of sexuality in such bare form. Perhaps the simplest conclusion is to highlight that there are too many sequences that exist that serve little purpose in driving the complex points you can sense the filmmakers want to make, leaving the film open to accusations of salaciousness. Whether the characters are nude or not, too much of the film is bloat, which outweighs the good that is there. Sometimes you just have to climax a little quicker.

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