Johnny Ma’s film, The Mother and the Bear, makes its debut in early January 2026, coinciding with the upcoming Lunar New Year. This gentle comedy, reminiscent of the classic While You Were Sleeping, offers a heartfelt examination of familial relationships between a Chinese mother and her Canadian immigrant daughter. The film, which premiered at the Toronto International Film Festival in 2024, sets a hopeful tone for the new cinematic year.
At the heart of the film is Kim Ho-jung, who delivers a compelling performance as Sara, a single mother whose overwhelming devotion to her daughter, Sumi, borders on obsession. Living in China, Sara grapples with unresolved grief from her husband’s death while placing her emotional well-being in her daughter’s hands. This dynamic creates a poignant narrative that highlights the complexities of parental love and dependence.
Sumi, played by an undisclosed actress, has relocated to Winnipeg to pursue a career as a piano teacher at a children’s performing arts center. Despite the opportunities that await her, the relationship between mother and daughter is strained. Sara’s incessant voicemails to Sumi go unanswered, underscoring the distance—both physical and emotional—that has developed between them.
The plot thickens when Sumi follows a rat into a dark alley and is startled by a loud noise, leading to an accident that leaves her in a medically-induced coma. This incident terrifies Sara, who believes this misfortune could have been avoided had she been present to care for her daughter. This moment catalyzes Sara’s journey of self-discovery as she navigates the complexities of her daughter’s new life.
As Sara explores Sumi’s surroundings, she meets Amaya, Sumi’s close friend and coworker, and witnesses the positive impact her daughter has on the children she teaches. In an attempt to gain control over her daughter’s life, Sara makes a morally questionable decision: she creates an online dating profile for Sumi, hoping to find a suitable partner who can provide the support she believes her daughter needs.
Simultaneously, Sara begins to forge a connection with Sam, the owner of a nearby Korean restaurant, Seoul Kitchen. Both characters share the experience of single parenthood and the challenges associated with their children’s choices in partners. This burgeoning relationship between Sara and Sam adds another layer of complexity to the narrative, revealing the interconnectedness of their lives.
While the film touches on the tight-knit nature of diasporic communities, some plot elements may stretch credibility. The rapid intertwining of relationships risks overshadowing the film’s charm. Nevertheless, Ma successfully portrays Sara’s journey of self-discovery in a new environment, particularly when focusing on her interactions with Sam.
The film’s score, composed by Marie-Hélène Leclerc-Delorme, enhances the viewing experience, capturing the alienation and tactile sensations of navigating an unfamiliar setting. While the film occasionally leans into clichéd tropes—such as the humorous misunderstanding regarding Sumi’s personal items—it largely succeeds in portraying authentic emotions and genuine connections.
As audiences prepare to welcome the year ahead, The Mother and the Bear presents a relatable and uplifting narrative about growth and understanding. The film opens in select American cities on January 2, 2026, followed by its release in Canada on January 9, 2026. With its tender exploration of family dynamics, it promises to resonate with viewers seeking both entertainment and reflection.
