Mother!

Mother!

From the very first shots Darren Aronofsky’s Mother! unsettles, as an amorphous membrane heaves and pulsates, like some breathing organism. And, at the same time the walls of a house seem to be transmogrified, there are surreal impressions of fire and destruction. It will be a long time — a long time after we have left the cinema, perhaps — before we realise what they are, or at least represent. In the interim, more than enough horrors emerge with perverse ubiquity to keep us (reluctantly) occupied.

Bluntly hacked into two parts — one, about barren-ness, the other fecundity — and shot in crowded, intense colours, the film details the unravelling of a young woman (Jennifer Lawrence), and the life and home she has built around her poet husband (Javier Bardem).

The couple lives in a large isolated dwelling of countless rooms with cellars and hidden dungeons. We learn it had burnt down years ago, and Jennifer (for want of a character name) is trying to restore it to its early glory. Meanwhile, middle-aged Javier is suffering from writer’s block, and has been ignoring the needs of his youthful wife. And when a mysterious stranger (Ed Harris) arrives at the door, bringing along his sultry spouse (Michelle Pfeiffer), and their catalogue of troubles, Javier singularly welcomes them.

Unfolding with growing absurdity Mother! is the first movie at which I was on the very verge of walking out. Terror continues to mount when Jennifer falls pregnant and inspiration juices return for the self-centred Javier who, while basking in the runaway success of his latest publication, opens their house to a deluge of crushing, invading, looting fans.

With the use of hyperboles and tropes, Aronofsky shocks and disturbs us into recognising how some artists might do whatever it takes for the sake of celebrityhood or of their work. “Nothing is ever enough,” Javier says to a dying Jennifer. ” I would not be able to create if it was.” More than that, the writer-director through the relentless unspooling of gratuitous violence grills our minds into witnessing the damage wrought by humankind on mother Earth as they give in to endless excesses in pursuit of self-interests.

Amid all the untold chaos blood oozes out slowly and inexplicably from beneath a floor board, like our planet on a quiet haemorrhage. Yet, Javier will never notice this; his cares are invested in salvaging the (literal) stone of inspiration from among the ashes, and replaying the whole squalid chapter again (and maybe again).