|Die Frankfurt-Tipp Bewertung:|
|Genre:||Drama, Mystery, Horror|
|Laufzeit:||Ca. 115 Min|
|FSK:||From 16 years|
A young woman (Jennifer Lawrence) lives with her husband (Javier Bardem), an acclaimed writer's block poet, in a secluded house that she has brought into shape with much effort and love. Here she wants to create a little paradise for herself and her great love. She doesn't like to have strangers in her house, especially when they are as mysterious as the older man (Ed Harris), who one evening stands outside her door and claims that he believed her house to be a motel. The poet likes to welcome the stranger and feels honoured that he turns out to be a big fan. It doesn't bother him either when suddenly the stranger's wife (Michelle Pfeiffer) appears. The young woman, on the other hand, feels uncomfortable with the uninvited guests in the house, especially as the woman behaves very strangely towards her. When the couple's two sons come into the house and an argument between them escalates, the idyll at home turns into a nightmare for the young woman, which at some point takes on completely disturbing traits…
Darren Aronofsky is a talented - some might even say gifted - filmmaker. There's no question about it. The atmospheric visual worlds he has created and how he uses the medium of film to tell his sometimes very profound stories are often really great art. But already during his esoteric trip "The Fountain" and his Bible epic "Noah" one had the feeling that Aronofsky's ambitions as an artist had extremely disturbed the connection between director and audience. If you as a viewer have to scratch your head in amazement and wonder what the (admittedly fascinating) pictures have to mean, then this is not very beneficial for the entertainment value or a positive overall impression.
To say in such moments that you shouldn't understand what is shown because Aronofsky is an artist with a very individual vision is just a cheap excuse. Art doesn't always have to serve answers on the plate, but if only questions and confusion are left behind, it's simply enormously frustrating. And this is exactly the word that best describes Aronofsky's latest work "mother! In this mystery psycho horror chamber game the viewer is so overwhelmed with meaningful symbolism that at some point you give up trying to interpret it. Is the whole thing a parable of the refugee situation with which our society is confronted? Is it a creation story? Is it a film about man destroying his paradise? Never mind! The main thing is that it looks good.
It just doesn't matter. One has the feeling that Darren Aronofsky is sitting on his high artistic horse and has completely forgotten that he perhaps should have offered his audience a few small approaches that make the confused events on the screen even rudimentary understandable. Certainly, there is something fascinating about the atmosphere of the film. The performer are achiever, though the countenance of Jennifer Lawrence fitting seems to be a bit frozen in the point common fraction of the show. And yes, there are also some very intense scenes that really burn into your mind. But in the end, all that remains is a completely unsatisfactory "What should the whole thing be?", which can't be explained to me either, a certain understanding of art.
It is highly to be credited to filmmakers when they try to swim against the mainstream stream. But when they lose sight of their audience completely, a thrilling, exciting film experience quickly turns into self-absorbed rubbish. And since that's exactly what happened with "mother!", there's only one thing to do with the best will in the world: it's only worth seeing for hard-boiled Aronofsky fans!
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