One of the chief thrills of Darren Aronofsky’s mother! is in rooting for the film itself. mother! is wild and wildly ambitious, and veers dangerously close to self-parody many times. With a less sure hand behind it, mother! could be the most mocked movie of the year. Hell, it still might be. But its consistency and intensity amongst the chaos wipe away any complaints about such relative trivialities as logic and narrative structure. mother! is a thrillingly grand experiment, a love-it-or-hate-it experience that I firmly come down on the “love” side of.
Aronofsky purposely withheld almost all information about mother! before its release, and perhaps it is best left that way, as a puzzle to slowly piece together. In that spirit, I won’t discuss the plot, but suffice to say that a literal interpretation of the events of mother! is simply ludicrous. mother! is a metaphor wrapped inside an analogy, and while the metaphor itself could be either tacky or pretentious, its blunt presentation of it pays dividends. While the first act plays out as a chamber drama with metaphysical portents, after a spat between brothers enters the storyline, there’s no mistaking mother! for a literal story. Over the course of two hours, Aronofsky lays out his thesis on human history and human ugliness in the space of a single farmhouse, starting from social rudeness and culminating in mass chaos. The historical and environmental allegories it lays out are obvious but thrilling, while its commentary on partnerships, artistry, and sexism could take multiple viewings to fully unpack.
mother! is assuredly not for everyone. Some will find its allegorical nature obtuse, confounding, or pretentious. Many will find that it goes too far in its last act, which contains a level of violence well beyond what normally makes its way to mainstream cinemas. But as a piece of gonzo filmmaking, mother! is an absolute masterpiece, an unforgettable wackadoo journey through human nature that left me shaken and exhilarated on the way out.
Directed by Darren Aronofsky
Starring Jennifer Lawrence, Javier Bardem, Ed Harris, and Michelle Pfeiffer
Rotten Tomatoes (70%)
HIGHLIGHT FOR SPOILERY COMMENT: So, the mother! in question is most likely Mother Nature/Gaia, as embodied by Jennifer Lawrence, with Javier Bardem’s “Him” being God. The link between the house and our planet is pretty clear, painting humanity as uninvited houseguests who destroy the planet (in probably my favourite small moment, a guest barges into the bathroom and apologizes to Lawrence, saying “Just exploring!”). But does the metaphor fold back unto itself? If God is a inattentive partner and poet laureate, are artists also God to a extent? Is mother! arguing that fan bases destroy the personal world of the artist, with the artist themself as a willing participant in the destruction?