In the middle of a forest, the explicit distancing from the people is a house. The so-called head of the family (Javier Bardem) a poet with the prefix “nedo”, husband, passionate about fleeing from sexual intercourse with his wife, and just a middle-aged handsome man in search of new ideas. His long-suffering wife (Jennifer Lawrence), a self-built house (between the lines: plant a tree, raise a son), acts as not only homemakers, but also, in principle, a man whose job is all that is usually divided into two. While the heroine of Lawrence with special love, reaching to telepathic communication, is completing the renovation of the house, the poet’s melancholy strolls in search of a Muse or a set for suicide is difficult to understand. Interrupts their regular life late visitor (ed Harris), who on the morning guest multiplies the threshold to two instances representing the inhabitants of his home without the rules of propriety wife (Michelle Pfeiffer). The appearance of a mysterious guest leads to consequences, to expect that, of course, possible, if you look at the name of the Director, but difficult.
Disputes, which opened after the premiere of the film at the Venice film festival among critics and all looking at the light, can be displayed in a single anecdote: the reviews ranged from very negative to ecstatic-poklonski. But the phrase “much ADO about nothing” does not fit here. The uproar is justified and, let’s be honest, very useful for rolling period.
In the context of the Venice film festival “mother!” American cherry on the cake, which is actually a compote. If the first part of the movie makes indecent to get nervous, the second to his madness reaches the scale of “surrealism and whiskey, please” and actually starting to put pressure on the psyche of his cramped chamber.
In the new pathetic monologue Aronofsky is too keen on the accuser. Its an endless game with the higher and lower tones on the well-known theme at the end just tired. And it is clear that drawn by the few intelligent investments (feminism; the soul of the Creator, a mystery, a mystery; read the Bible, remember; too bad my love is not the center of your world), loses all meaning in this stream of Director’s consciousness.
“mother!” cannot be called a failure, because, like it or not, Aronofsky the Director is a smart, active and quite skillful on the part of the interspersed biblical aphorisms. Everything that happens on the screen not a random slide show. Each frame is carefully logical in the universe of the Director and is intended to showcase Jennifer Lawrence in all its glory, what the audience and the actress definitely deserves. All the puzzles of a single picture in the end ends up in the right place, I want to add, at the right time. But with all the technicalities of the picture, it is clearly not enough of those pauses, which would help to separate one important problem from the other because the line-up such stretched almost a dozen. The storyline of the Bible are straight, virtually no play quotes, that actually makes quite a powerful scenario in a synchronous mortdecai.
What we can say with confidence is that “mother!” the theatre of one actor, in this case, invincible and still inaccessible to colleagues in the frame of Jennifer Lawrence. This is entirely her film and her next request, “Yes, the best, what?”. The entire film is presented through the prism of consciousness of its heroine, fragile virgin with a torch of self-sacrifice and perfectionist pain. Professionally soaking and pulling numerous transitions from whispers to screams, it is the only thing really worth watching the film.