Good Madam

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Breaking an age old curse. It's something African know too well, for Mavis and Tsidi it's both generational and present. The love of a mother is sometimes too powerful to defeat and that was the weapon Mavis used to protect not only her daughter, but also the next generation and in so doing secured her family a home. True freedom...Mind. Spirit and Soul.❤️

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I am not surprised that the IMDB scores are low for this one even though I liked it very much. For people who don't like slow burn movies, this one is absolutely not for you. But if you like a elevated psychological horror with a slow emerging mystery, then don't miss it. The film is concerned with a south african family in South Africa post apartheid. A black elderly woman has been the caretaker of a elderly white woman who is bedridden and near death. The woman who takes care of the white woman and her family have a history in this beautiful modern home. Some of this history is dark which affect the adult daughter of the caretaker. She has dark memories from her own childhood growing up in the home. But she finds herself between her mother, the caretaker who is loyal to the white female and maticularly takes care of the home, and the daughter's little girl who loves the home. Anyway, I really appreciate these international horror films because I really do love horror with cultural differences from American films. They are unique and not cookie cutter hollywood films. The actors, direction, and the cinematography is outstanding. I also liked the twisty end to this psychological mystery.

The only publisher whose horror films are pretty much watchable. The reason we like Shudder is because on average there's no nudity. I'm a little disappointed in them because of the movie. No story, it was very slow. Bad acting. It was also annoying all the way through the movie and even having to watch something like this for 90 minutes was a very bad experience unfortunately. But I hope at least they will continue to make movies that are not for the 95% of society. That means no nudity, no running around in your panties, and other things like that. Of course they have the occasional film that's full of nudity, but we'll skip those.

This movie had all the makings of a really solid horror, however it kind of landed in the middle for me. This is definitely a slow burn and doesn't really pick up till the third act. However, I was still entertained and it kept my attention. The acting was superb in this, all around. I wish the story had just a bit more meat on its bones. A lot happens, but it also feels like not all that much happens. They were successful in creating quite a spooky atmosphere, with an intriguing story and it was shot and edited beautifully. Would recommend.

For fans of a good slow burn full of local folklore, enigmatic messages and creepy imagery. It can be a bit slow for some or a bit ambigous for other - for me, both of these elements worked really well (even if the ending is not totally satisfactory). Great technical elements, a very confident direction, atmospheric with an almost perfect of the music...this is also elevated by the message and the many metaphorical elements in scene that work really well even if you take the supernatural elements. A fan.

The acting, the camera work and the editing are good, the music is very good, the script is tight and raw, and the concept (Apartheid-based racial horror) was very promising. Unfortunately the scenario does not take up, ill-served by a credible but unlikable main character, with whom the spectator struggles to identify. The end result is a fine piece of social observation sprinkled with fantastic elements that feel unecessary (the dog), or cheesy (hieroglyphics).

Specters real and imagined haunt a suburban Cape Town home. Tsidi moves in with her mother Mavis who works as a caretaker to a rich, elderly white woman in the home. Mavis tries not to make noise, touch anything, or make her presence known, and Tsidi chastises her for pretending not to live in her own place. Tsidi insists that Mavis gives this white woman, the good madam, too much power. For stirring up trouble, this is when the spirits stir up the same for Tsidi in return. Common sounds such as cooking, draining water, and closing doors turn into ominous messages in this psychological satirical and allegorical thriller. The film makers expressed in the question and answer session after the film that they hoped a film would result in a spark of conversation. Dialogue was improvised. World premiere seen at the Toronto international film festival.

The title of this movie is Xhosa and translates as Good Madam, as the white madam is at the center of this film, a comatose woman being looked after by Mavis, the mother of Tisdi, this movie's protagonist. As they live in the wealthy suburbs of Cape Town - yet always apart from the city - the darkness within the old woman's home may engulf everything and everyone. Directed by Jenna Cato Bass (who co-wrote the script with Babalwa Baartman), this movie may take place decades after the end of apartheid, but the shadow of the past looms large. Tisdi has been estranged from her mother, who has spent the majority of her life with the home of Madam - Diane - and even raised her son Stuart alongside the rich white children. Only Mavis is allowed to enter the room of the dying woman - which reminds one of Burnt Offerings - while keeping the home immaculate, as if the lady of the home could rise at any moment and nothing has changed. Her sacrifices to her duty have even kept Mavis from going to the funeral of her mother. Why are Mavis and Stuart so comfortable in this home of white privilege and Tsidi so haunted? Why was she rejected and her brother accepted and perhaps even adopted or co-opted? And why have we never seen Madam outside of photos from the past? And when Tisdi's daughter Winnie been loved by Mavis so easily when a connection between mother and daughter has been such a trial? As Americans, we may struggle to understand the complicated history of South Africa, but sadly, we all understand the struggles of racism and enduring horrible relationships that only have one worse thought: what if tomorrow is worse than the pain we have endured in the days before?