“Mother!” Review ✦✦✦✧✧

16 September, 2017

Director: Darren Aronofsky
Screenwriter: Darren Aronofsky
Director of Photography: Matthew Libatique
Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer

Synopsis: A devoted yet disturbed housewife who rarely leaves the confines of her home experiences an acute mental breakdown after a series of mysterious visitors arrive at her house with unclear intentions.

Mother Review:

A bold and redefining move from the unpredictable Darren Aronofsky, whose passion project distorts and twists with a demented edge, “Mother!” wears the exclamation mark in its title with pride as it spews out metaphors in every imaginable form, leaving viewers gasping for air as chaos overrides reason. Self-reflexive in ways thought unimaginable and symbolic with a violent and cryptic edge, the film is more of a maniacal art piece than a comprehensible psycho-thriller, inducing panic attacks across cinemas as intrusion, clamour, and separation anxiety culminate in yet another trademark slow-burner from Aronofsky.

A tad consumed by Cronenbergian-level experimentalism but more unpackable than the average arthouse drivel, “Mother!” tiptoes around the greats, blowing air-kisses towards Tarkovsky and reimagining Polanski’s iconic Apartment Trilogy in a new and even more overtly abusive format. While film buffs wait for the birth of the antichrist but are given something far closer to the gripping scenes in Polanski’s “The Tenant” to chew on, “Mother!” alludes to a Jennifer Lawrence version of “The Others”, placing the odd jump scare reminds us that horror plays a crucial role in a movie obsessed with the removal of a human heart.

The cinematic alternative to a gallery’s most perplexing art piece which patrons insist on studying at length as they turn their heads in bewilderment, “Mother!” is merciless in its exploration of destructive love, speaking in a practically indistinguishable tone as complex imagery replaces narrative without a moment’s hesitation. Layered with symbols and begging to be watched numerous times, the film implants itself in the psyche like an unshakeable sickness, exposing only fragments in its confounding structure but staying forever present with a dark tale of barbaric selfishness at the expense of the innocent.


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