The artist is self-important and impotent. The problem is the nagging wife. He gets her pregnant because that will shut her up, and he's reborn. He is successful again. His fans arrive, and they provide the love he needs. The problem is that she's still so needy. So they beat the crap out of her. The director tries to cloak this as religious allegory. It's another misogynist take on the artist and the muse. cont.
With its heavy lashings of bible-black wit, it defiantly earns its place in the pantheon of classic alegorical psychodramas: Repulsion, Rosemary's Baby, The Wicker Man, Don't Look Now, Eraserhead, Antichrist, Under the Skin etc. The biblical and environmental metaphors may be more overt, but for me it was interesting to view the events as a manifestation of her deepest fears as a woman, wife, daughter and mother.
This film gave me such anxiety. Of course the biblical and nature allegories are the most straight forward interpretations but there are so many interpretations for this, so many digs at society; religion; the artistic mind and creative process; patriarchy; inequality in relationships; worship of false idols... you name it, it's there. I can't think of a single bad thing to say about this film. I'm still rattled.
Sarah Kane's wounded deconstructions of perversion and ironically perverted fixation on malice, parabolic use of space, and flat-circle timelines are filtered through Żuławski's manic lens, with spectacularly disquieting POV camerawork bobbing and weaving with the isolated Lawrence in her finest performance to date. A distressing, yet singular experience; one to be greatly admired if not necessarily enjoyed.
The battle between the private and public selves; the unconstrained ego and it's self-destructive thirst for fame and recognition at all costs. Birth and creation, dissatisfaction and self annihilation. 3.5 stars
A loop filled with gratuitous violence (seriously THAT scene was too fucked up), biblic references, Javier Bardem's terrifying presence, uninvited guests, a rave, the meaning of life and Jennifer's flawless hour-glass figure.
closer to 2.5 but yeah. the first hour or so is 4 stars for me personally but thought the rest of it was too overwrought and did not enjoy at all. lots of things i hated about this film, some small things i liked. the end.
This is a film with a lot of qualities, even if you hated it. Aronofsky lets chaos reign inside his House, with a powerful stage flow that doesn't stop showing madness - and so it works fine as a surrealist thriller. But then there's the plot twist... Then there's a need to overexplain things. And at the end there's this tendecy to make a story out of the metaphor - and the film falls deep into borderline basic.