The interweaving private lives and family dramas of several people who cross paths at an orgy. Here is our review of director and writer Davo Hardy’s dramedy Mothers, Lovers and Others.
Davo Hardy’s Mothers, Lovers and Others is the kind of film that dares audiences to walk out, argue, or at least squirm in their seats. Billed as a drama about intersecting lives at a sex party, it leans hard into explicitness from its opening montage of nude bodies to its sex acts and closing beats. At over two hours long, it’s a film that wants to push boundaries, but it doesn’t always justify the runtime
Hardy deserves credit for ambition. Few filmmakers, especially in the Australian indie scene, would risk such graphic material. The film is frank about sex and its explorations of BDSM, and nudity. In theory, this radical honesty could open space for conversations about intimacy and identity, however, the constant parade of bodies often overshadows the narrative. Scenes linger well past their point, testing patience rather than deepening character. What could have been provocative in service of story just feels like provocation for its own sake.
The main story is strong. Graeme and Elijah, a middle-aged gay couple, wrestle with the difficult balance between stability and desire. Their relationship is messy, tender, and different from the typical queer stories of rebellion or coming out. Their relationship feels real and lived-in. When the camera stays on them in quieter moments Hardy’s project shows flashes of real insight.
Unfortunately, the rest of the storylines can’t match this strength with some of the subplots ranging from underdeveloped to unnecessary, with some of the directorial choices veering into uncomfortable territory. Making them feels like additions for shock value rather than nuance.
The film’s pacing is another stumbling block. At 135 minutes, Mothers, Lovers and Others overstays its welcome with the second act one of the culprits, as repetitive sequences drain the pace and spreads the drama thin, and before the end of the film the audience’s patience has run out.
Style wise, Hardy opts for a realist rawness, but the execution apart from one or two stand out moments doesn’t always match it. Explicit material demands careful framing and pacing so as not to make us feel uncomfortable. Hardy’s direction sometimes feels a little rough with some scenes going on a little too long. Compared to films like Shortbus or The Duke of Burgundy, which also blend sexuality with human vulnerability, Hardy’s budget constraints stand out.
Performances, however, remain a strength. The leads bring honesty and vulnerability, grounding the film even when the material falters. Hardy himself steps in front of the camera, delivering a performance that feels authentic while the supporting players commit bravely
Mothers, Lovers and Others is not a failure, but it is a frustrating watch. Its ambition is admirable, and its willingness to confront taboo subjects head-on is rare. But boldness alone does not make a film great. Without tighter pacing, more focused writing, and sharper direction, the provocation loses power. A daring but uneven drama. It aims to challenge and sometimes succeeds, but too often collapses under its own weight. Hardy’s courage however is undeniable and if you can handle the material you will find something in Mothers Lovers and Others to enjoy and talk about.
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