Mother-poster-3Darren Aronofsky’s new film, “Mother!” was nothing like I thought it would be. Sure, I was prepared by all the reports that one would “either love it or hate it” and I knew that the camera was on Jennifer Lawrence’s face or from her p.o.v. for 60% of the film. Without giving too much away, “Mother!” is an allegory about fame (but, ambitiously, it could also be seen to be about religion, current politics, the environment, etc.). What I didn’t expect was just how far Aronofsky would take his premise, and I was taken by the scope of the film.

Javier Bardem plays a poet with writers block, while his wife, Jennifer Lawrence, tiptoes around their maze of a house fixing it up and rebuilding it around him. The action begins when Ed Harris, followed by Michelle Pfeifer, stop by and then don’t want to leave. These people (and those still to come) are all a burden to an increasingly paranoid Lawrence, and a boon to Bardem, who craves inspiration. I know this sounds fairly mundane, but everything takes a surprisingly dark turn and, well, never looks back.

Much is currently said and written about how outrage is a powerful tool to keep us fixated on the news. To me, “Mother!” fits into that category. The film wants us to be outraged by all the symbols it draws from and the images it creates. But I didn’t leave outraged, I left tired.

Julia Benedict



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