Abstract
In the paper, two recent Polish movies about motherhood are considered: Tower. A Bright Day (2017) by Jagoda Szelc and The Fugue (2019) by Agnieszka Smoczynska. The authors argue that both movies transform the classic plot of a maternal melodrama to depict its heroines as mothers who can make their decision to leave. Simultaneously both main female characters – Kaja and Kinga – are portrayed as somewhat dysfunctional, “abjective”, and monstrous. However, the narration of the movies seems to sympathize with them. As a result, Tower. A Bright Day and The Fugue bring uneasy and provocative images of motherhood as well as the vision of upcoming catastrophe (in social and even extraterrestrial sense).
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