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mother

Few filmmakers from the orbit of today’s Hollywood The Conjuring 2 can be proud to have such a compact and coherent work as that of Darren Aronofsky. Since his debut, ‘Pi, faith in chaos’, the New York filmmaker has not stopped expanding, film by film, the scope of his narrative and spiritual project, based on the labyrinthine Captain Fantastic representation of elementary ideas: the tragic and sublime dimension of love, the idea of ​​creative talent as existential slab and a Christian conception of suffering as a path to enlightenment. On the stylistic level, despite the realistic impact of ‘El luchador’, time and success have shown that the true essence of Aronofsky is that of the pictorial and pyrotechnic filmmaker, son of Georges Méliès’ fantasy impulse, in his more megalomaniac face , effervescent and ephemeral.

In one of the first scenes of ‘mother!’, The new and elephantine film by Aronofsky, the protagonist – a Jennifer Lawrence in perpetual state of bewilderment and amazement – faces a white wall ready to try out possible colors with which to paint her. Then, as delirium begins to take over the film, it is evident that Aronofsky interprets cinema as that blank wall, a territory without pre-established norms on which to “create” with the anarchic freedom of an all-powerful demiurge. In this case, what seems like an intimate drama between a poet tormented by the creative blockade and a young housewife who wants to conceive a child soon becomes a kind of home invasion thriller in which Ed Harris and Michelle Pfeiffer fulfill the role It of impertinent intruders. And this is only the first breach of a film that never stops spinning, with a terrific and surreal pulse, around a powerfully archetypal situation: the pregnant and neurotic woman who does not accept being the second dish of a husband dominated by the narcissism of the artist / creator

Duration: 121 min

Release:

IMDb: 6.7

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