Stepmothers and Sadness: Watching 'Édes mostoha'

Is it worth your time?

If you have a soft spot for black-and-white dramas that feel like they belong in a dusty attic, then sure. It's a quiet, domestic sort of film. If you need pacing, modern editing, or anything resembling a surprise, you will probably be bored to tears within twenty minutes.

The whole thing hinges on the idea of the 'evil stepmother.' It’s such a tired trope, but seeing it play out in 1935 Hungary adds this layer of historical flavor that keeps it from being just another soap opera. It feels like watching a stage play that someone accidentally filmed.

The vibe

Erzsike, the little girl, is essentially a walking bundle of anxiety. Her reaction to the new stepmother is so intense it’s almost funny. She’s been told by her governess that stepmothers are essentially monsters in human skin. Watching her navigate the house with this terrified expression makes you want to reach into the screen and tell her to just breathe.

The house itself feels like another character. It’s stiff and formal. Everything is in its place. When the new wife arrives, the furniture seems to reject her as much as the child does. There’s a scene where the camera just sits there, capturing the silence in the living room, and it lasts just a second too long. It’s perfect. It makes you feel the awkwardness.

Random thoughts

• The governess is absolutely the worst influence. I wanted to shake her.
• The lighting in the hallway scene is weirdly dramatic for a movie about a family argument.
• I kept thinking about The Only Woman and how differently that film handles domestic tension.
• Sometimes the acting feels like everyone is trying to be heard in the back row of a theater.
• The hats! Everyone is wearing such elaborate hats, even when they are just sitting around being miserable.

The movie is mostly about the father, András, trying to play peacemaker. He looks tired. Not just 'movie tired,' but like he hasn't slept in a week. It’s a very grounded performance that saves the film from turning into pure melodrama.

It’s not a masterpiece. It doesn't need to be. It’s a snapshot of a very specific kind of grief that doesn't scream, but just sits in the corner of the room. 🕰️