Then there are the titles able to fascinate and irritate with great skill, generating an interesting debate around it. the ‘Mother!’, the new work behind the camera of Darren Aronofsky, fits squarely in that category, being even able to amaze and horrify at the same time with your bet extreme full of metaphors that may end up deranging to some viewers. What is for sure is that it is an experience that is as suffocating as the one who suffers the character played by Jennifer Lawrence.

Highrise

One of the more obvious job of setting the scene of Aronofsky’s what we find in its overwhelming use of the first and earliest first planes centered in Lawrence. A great way to mark his first disorientation and then as is being increasingly overcome by the circumstances, to the point that only opens the plane on it to show the loneliness and helplessness which he has to cope as much as your husband -efficient Javier Bardem– is the greater part of the time at home, too.

All of this also results in the sensations that are transmitted to the viewer, being also enclosed in the succession of follies to which Aronofsky gives a religious component -only the fact that contract specifically to the brothers in real life Domhnall and Brian Gleeson already reinforces the fact find a parallel with Abel and Cain, but it is just a single detail when, as I said my buddy John Tones, you can see in it a lesson of theology in disguise, camouflaged train of the witch-.

A lack of control controlled

The issue is that ‘Mother!’ is a film with very clear ideas, both that Aronofsky does not hesitate to take the leap into the void without a net. Yes, giving at all times the feeling of being in full control of that chaos. This is where the cocktail of genres and meanings just playing as much in your favour as against you.

as soon As it is a family drama as a horror movie, passing by such a number of intermediate points that you have to go accepting everything that is proposed if you do not want to stay outside.

And, in the end, the film choking even more the spectator than the protagonist, because we all passed it but with an addition: Lawrence has to show us in all times that I am not understand what is happening and nailed that feeling, but in our case we are required to do more than that, because what for her has no meaning, for we do have to have it. is Not have to be the same for everyone-therein lies part of its charm-but it has to be something more.

At this point it is appropriate to take into account the huge amount of information that Aronofsky we will be giving, from the dialogue to the geography of the house itself, without forgetting the various objects -until a pipe has its hidden meaning – that they are appearing out there. ‘Mother!’ the demand that our brain is 110% of operation and overlook the deficiencies of concrete -your treatment as tale of terror is upgradeable- the benefit of the supposed greater good.

‘Mother!’ is a fascinating and exasperating

There are several ways to react to that challenge. the you Can love her or feel ripped off, but in my case generated a sense of confusion that I don’t end up clear that you have finished recovering. And is that as soon as I hooked up as something that was happening that I missed out, alternating between both facts up to the point of doubting whether there might also be something of premeditation.

In fact, ‘Mother!’ I work better in your reading more simple for all the game metaphors of Aronofsky, since the excellent work of Lawrence, in offering an interpretation far removed from what we are accustomed since he is a big star, yes that works all the time as that thread that keeps your subject even when that tendency to certain solutions, exaggerated makes you think that yes, that Aronofsky has done so on purpose, but this has not work. Intentions and results are not the same.

https://www.youtube.com/watch?v=XpICoc65uh0