Using a post-feminist lens, this article explores the cinematic depiction of maternal grief in RABBIT HOLE (John Cameron Mitchell, US 2010) and PIECES OF A WOMAN (Kornél Mundruczó, HU/CA 2020). The study focuses on the visual and narrative techniques used in these films, conducting a thematic analysis centered on three key post-feminist themes: female agency in owning grief, autonomy and ethics in emotional recovery, and redefining motherhood beyond biological ties. Through detailed analysis of mise-en-scène, cinematography, silence, and embodied performance, the article examines how these films challenge traditional representations of maternal suffering and instead highlight complex, private, and nonlinear paths to healing. The analysis also engages with the spiritual and ethical dimensions of mourning, illustrating how both films transform loss into a quiet form of endurance, forgiveness, and inner renewal. Grounded in post-feminist thought, the study argues that contemporary cinema enables new expressions of maternal subjectivity that resist spectacle and closure, instead reimagining grief, memory, and identity as intertwined acts of resilience and transcendence.