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On the opposite end of the cinematic spectrum lies Richard Linklater’s Boyhood (2014). Filmed over 12 years with the same actors, the movie offers an unprecedented, real-time look at a mother (played by Patricia Arquette) raising her son, Mason (Ellar Coltrane).

: A classic trope, particularly in mid-20th-century literature and film, where maternal love becomes possessive or "smothering". Literature : In D.H. Lawrence's Sons and Lovers On the opposite end of the cinematic spectrum

The adolescent son’s awakening is inseparable from his mother’s gaze. In Steven Spielberg’s E.T. the Extra-Terrestrial (1982), the divorced, overworked mother, Mary (Dee Wallace), is a benign absence. Her son, Elliott, doesn’t escape her but rather seeks a surrogate (E.T.) to fill the emotional gap left by his father’s departure. In Barry Jenkins’ Moonlight (2016), the mother-son relationship is a tragedy of addiction and love. Paula, played by Naomie Harris, is a crack-addicted mother who both adores and abuses her son, Chiron. Their ferocious reunion scene in the film’s third act—where a now-buff, hardened Chiron visits his skeletal mother in rehab—is one of the most raw and redemptive moments in cinema. She asks for forgiveness, and he gives it, not as a child, but as a man choosing grace. Literature : In D

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The mother-son relationship in cinema and literature often explores universal themes and symbolism, including:

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