It’s not entirely obvious when the backlash toDarren Aronofskystarted but it likely started around the timeThe Fountainwas released. The release of two masterpieces in the wake of that wild metaphysical mess rehabilitated his reputation extensively but then the backlash got resurrected with his undervalued, remarkableNoah, in whichRussell Croweplayed the biblical character. Even bonafide bible-thumpers, the same crowds that showed up for dreck likeWar Room, didn’t make the trip to see Aronofsky’s film. A popular reason given was that people died and the story was sad, which clearly never happened anywhere else in the bible.
Regardless, this is all to say Aronofsky is an ambitious director whether he also happens to be a popular one or not. He’s never made a boring movie and for all the flack thatThe FountainandNoahhave received, there are very few movies in circulation that look like them and even fewer films that are written with such audacious aims. Addiction, obsession, and pent-up desires are paramount to his films, whether in the guise of heroin inRequiem for a Dreamor fame and physique inThe Wrestler. Similarly aggressive returns of the repressed can be found inPi, his excellent debut, andBlack Swan, his beloved horror-melodrama starringNatalie PortmanandMila Kunis.
I’m talking mostly about Aronofsky’s past movies because, well, not much is known about his upcoming movie,mother!, which starsJennifer LawrenceandJavier Bardem. What we do know is that the movie fits firmly into the horror genre by Aronofsky’s own admission and involves a couple that is sent into some sort of tizzy following the introduction of a houseguest. Horror is a genre that Aronofsky has thrived in and even expanded withBlack Swanand, arguably,Pi. One could even labelRequiem for a Dreama horror movie if so inclined. There’s no way of knowing wheremother!will take Aronofsky and his cast but it will likely remain a mystery until we get a look at a trailer in the coming months. What we do have for now is the first poster for the film, featuring a lushly drawn Lawrence holding out her own cut-out heart amongst a variety of plants, recalling (once again) a biblical painting. It’s difficult to extrapolate much more from the image but whatever the content, the new Aronofsky is a genuine event for any serious movie lover, maybe especially because we have no clue what to expect.
Here’s the first poster formother!:
