The new Darren Aronofsky’s film evokes the audience several intertextual associations in his work: first of all, it megalomania fantasy “the Fountain”, trying to become the psychotherapeutic equivalent of a “Space Odyssey” Kubrick is his early cinematic experiment “PI” is an attempt to create a paranoid “theory of everything” is not least “Noah” with his misanthropic intentions. In addition, among the films of other Directors obvious connection with the “rosemary’s Baby” Polanski (the theme of the victimization women) and “Antichrist” Trier with his pantheistic rebellion.
About “mom!” it’s hard to write, not to slip into spoilers, so this film text, therefore let’s try to analyze it as generally, without going into the analysis of characters, plot and any specifics, for the film itself as an abstract parable about everything, past, present and future of our planet. Making a mistake early Zvyagintsev, Aronofsky builds on a dense network of biblical quotations, especially the book of Genesis, like “Noah”, contrasting his own misanthropic stance, denying people the right to exist, the position of the God as he understood It, as benevolent Creator, constantly giving people another chance.
The problem of “mom!”, as “Noah” and “PI” (whose Kabbalistic install cracking the code of being at least relatively rooted in old Testament legalism), in that they are outside the Christian paradigm (although “mom!” and there are hints of gospel events, but highly misinterpreted and often blasphemous enough uncut mockery of the Sacrament), and not able to understand the mysteries of the incarnation of God in the salvation of mankind. Aronofsky judges the world with old Testament severity, adding to it pantheistic, environmental motives, which makes his paintings such hopeless and condemning the human race as a whole.
Indeed, if Christ be not Risen, then human life on the planet appears some uninterrupted hell, where all the each other “eat” if He didn’t save mankind on the Cross, taking on Himself the sins of the people, they are doomed. Without Christ becomes incomprehensible creativity of God the Father, His persistent, unwavering love for people, which in the eyes of the earth a creature, seems unfair and indulgent human Vice, weakness. Noah Aronofski pointed out God to be like Him, like that he thinks he knows better than God, whom to execute and whom to pardon.
And then there’s the pantheistic illusion, seeing the nature, the planet, the universal Mother, endowed with soul and contending with God, all this, coupled with old Testament severity prevents Aronofsky to forgive humanity as his forgiven Christ, and to understand that the Sacrifice has already been made, have to wait for the Harvest, the end of the world when you decide his fate. Speaking about such abstract film without revealing the plot, it’s hard to ignore odolnost acting, deliberate iconography, though the workshop, but constrained by a narrow location camera work and mediocre, Hollywood editing, so we will not unfounded in his criticism of the film and back to its main ideas, leaving kinoform alone.
Directorial concept can meet only a complete misanthrope, fans of “the Antichrist” and “Melancholia” by Lars von Trier, in which humanity appears as a collection of finished cattle, but not a Christian mind that knows about the “judgment is without mercy, no mercy” (Jas. 2:13). In this sense, cosmogony Director Aronofsky is very close Tzarovska even megalomanical forms, but first and foremost conceptual in the idea that humanity at any cost must die, and soon. We can only sympathize with such a black pessimism.