Recent works reject the binary of good or bad mother, instead showing the mother-son bond as a web of mutual need and mutual harm. In Greta Gerwig’s Lady Bird (2017), the son (Miguel) is a minor character, but the film’s larger argument—that mothers and children love each other imperfectly—applies across gender. More centrally, Kenneth Lonergan’s Manchester by the Sea (2016) gives us Randi (Michelle Williams) and her young son after a family tragedy. Their few scenes together are devastating because they show a mother trying to reach a son who has frozen his grief. There is no monster here, only rupture.
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