The brilliant Darren Aronofsky is obsessed with three topics: religion, obsession, and surrealism. Mother! is a psychotic depiction of the three.
An unnamed couple (Jennifer Lawrence and Javier Bardem) live in a countryside rustic mansion. She’s obsessed with remodeling the home while he’s obsessed with overcoming writer’s block. When a series of uninvited guests including a dying man (Ed Harris), his alcoholic wife (Michelle Pfeiffer), their dysfunctional sons (real-life siblings Domhnall and Brian Gleeson), and an unhinged publicist (Kristen Wiig) disrupt their paradise, things escalate to pure insanity.
Mother! is already the year’s most controversial film due to its metaphorical screenplay and gruesome finale. Kudos to Aronofsky for not caring if we love or hate this polarizing film.
Mother! is a surreal commentary on religion and the environment; Lawrence is Mother Nature focused on her paradise while Bardem is God writing a biblical novel. When Bardem’s following disrupts and wrecks their home, Lawrence’s character grows increasingly unstable, symbolizing a disaster.
The film is full of allegories and and the final thirty minutes covers the fall of man and christening of Jesus. If you thought Aronofsky couldn’t top the amputation and “ass-to-ass” sequences in Requiem for a Dream or the transformation sequence in Black Swan, guess again! The climax features burglaries, an orgy, a rave, an armed raid, and the most disturbing cannibalism act put on film. It’s a visceral finale that left me exhausted and nauseous.
As ambitious and transgressive as Mother! is, I wasn’t completely blown away since it’s similar to Aronofsky’s previous works. Lawrence’s character is both insecure and obsessive like Natalie Portman’s Nina in Black Swan. Unlike Black Swan, our Mother! protagonist doesn’t have depth or growth. I felt tired of watching her trying to please everyone and yelling over the destruction of her home.
Bardem, Pfeiffer, and Wiig all have the best on-screen moments. Bardem is charismatic and devilish as our unnamed poet; he’s possibly the film’s most tragic character. Pfeiffer delivers a potential career-reviving performance as a guest that doesn’t understand boundaries. She’s funny, invasive, and slightly terrifying. Wiig only has a few minutes of on-screen time, but shows great range in such little time. She’s funny, quirky, deranged, and homicidal; I hope Wiig gets more horror roles.
I recommend Mother! to the arthouse film lovers and Aronofsky fans. Those expecting a traditional horror film will be disappointed since Mother! is not that at all. Those who are easily squeamish, you better stay away from this one.