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Plot

The married couple at the center of the movie reside in a decaying farmhouse in the middle of a forest. The wife (Jennifer Lawrence), a woman who loves to aid and serve her husband (Javier Bardem), a well-respected poet who is experiencing a severe creative crisis, has lovingly and devotedly rebuilt the home after it was completely destroyed by fire. The man has discovered a crystal among the wreckage of the house, which he closely guards and forbids his wife from touching. Even though she is completely committed to her spouse, the lady starts to experience some envy over his creative fixation and feels cut off from the thoughts of the guy she adores and idolizes. One day, a stranger (Ed Harris) who professes to be a huge admirer of the poet knocks on the door. Despite his wife's objections, the latter chooses to make room for the stranger because the compliments and attention from the enigmatic man feed his ego. The wife is greatly distressed as she feels diminished. Additionally, as the stranger's wife (Michelle Pfeiffer) and the bothersome kids arrive and ruin the home's tranquil ambiance, her concerns intensify.

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Why you should watch it?

Mother! asserts its femininity from the very beginning. Without Jennifer Lawrence, Mother! would not be possible. The picture not only features Aronofsky's (the director) new muse in every frame, but it also radiates her spirit. The author's camera sticks to the main character without ever losing sight of her. Her perspective serves as the sole filter for the story. The viewer is compelled to share her doubts, uncertainties, and fears; from the outset, he is drawn into the woman's escalating nightmare and shares her perplexity over the strange occurrences taking place in her home, the extraordinary residence that serves as the setting for Mother! in its entirety. In his allegory, Darren Aronofsky wants to put into contrast Jennifer's purity with the impurity and flaws of these creatures, who serve as the sources of disaster. In the second half, instead, Lawrence's delicate register of quiet passages and soft tones explodes into uncontrollable wrath. Additionally, the actress' voice alters, frequently becoming a whisper. An almost Botticellian composition is produced when she initially gets out of bed, facing the front entrance with her long ash-blond hair pulled back in a braid and the camera framing her from behind.

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In some ways, the image of the movie represents Lawrence's prominence, as her figure is emphasized in colors of ochre and yellow. Additionally, these will be the colors that dominate every room in the house. The pictures are painted in tones that evoke fire and aridity. This decision is evocative of how the house was constructed on the ruins of another house that had been destroyed by fire. The movie has no soundtrack, which is nearly unheard of in contemporary Hollywood productions. Instead, we hear only the sounds that are present during the action. Despite this, the movie never gets dull and succeeds in maintaining the audience's interest. A good, simple story, careful direction, and editing get all of the credit for this.

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By no means is the awful and unspeakable violence that we witness at the conclusion an end in itself. The wife experiences both physical and psychological abuse, which the director utilizes as a symbol. A relationship torn apart and torn to pieces also due to Bardem's own selfishness, who is unable to stand by his wife without reservation even in the face of the most terrible of acts. Although it is more akin to appreciation than pure love, the husband feels a protective feeling toward the woman. This is Mother!, a movie about love in all of its conceivable, sacred and profane manifestations. A complex emotion that can affect any person, and perhaps this is why the protagonists are simply referred to as "man," "woman," "husband," and "wife."

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Conclusion

A film that was much misunderstood by critics on release (and continues to be so). We are confronted with a psychotic delirium staged in a (very) theatrical, but nonetheless sensational, manner. Some scenes, especially the final ones involving a baby, were/are considered too excessive, but we are still talking about a movie, and I have to admit that I cannot help but appreciate the originality of Aronofsky, who doesn't give a damn about anything or anyone and does whatever he wants to deliver his message. After the constraints of political correctness and prejudice have been removed, it is impossible to characterize Mother! as a failure, far from it. We are dealing with a piece of work that knows how to be deep and meaningful without sacrificing daring or technical skill.

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Rating

My personal vote is:

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8.0/10

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