A Fan’s Look Into Why Audiences Feel So Divided Over Bold Cinematic Choices:
A Deep Dive of Director Darren Aronofsky’s Unique Filmography
Darren Aronofsky explores the tortured artist trope through his signature lens consistently in his work. The filmmaker handles obsession intensely, striking viewers. In this collective journal, I will explore my perspective on the elements that seem to resonate with audiences.
Starting off boldly, mother! (2017) struck controversy among viewers, with many feeling as though it went “too far,” or that the film just missed the mark altogether. Darren Aronofsky has never shied away from the uncomfortable a filmmaker, often embracing and amplifying the grotesque aspect of the thriller/horror genre. He utilizes violence deliberately, not overdoing it or adding it simply for the shock factor, which adds to the intensity of the scenes that it is present in.
By starting off with a glimpse of the ending, audiences are anticipating a fiery demise, though still unaware of what’s to come. Even though you know it’s all going to be destroyed, throughout the film viewers are wrapped in the story, somehow almost ignorant of the hellish future. Aronofsky is highly talented at engrossing storylines; mother! being one of his most powerfully engaging films.
This is due to the fact that for essentially 90% of the movie, the audience is supposed to be confused, joining “Mother” on her journey to unwrapping the truth. The parallels between viewers and the main character extend to various feelings, including fright and anxiety. The persistent use of first-person perspective as well as tight, intimate shots enhances these effects.
In the article Video Haptics and Erotics, Laura Marks explains how haptic images encourage a “bodily relationship between the viewer and the image… (Marks 3).” mother! creates such a tense, absorbing atmosphere that could be classified as a form of haptic images at times.
Specifically, nearing the end of the film, around 1:47:00, “Mother” screams after finding out that her baby was killed. The sensations of raw fear, anger, and hurt are depicted, and audiences can truly feel her pain. This near-conclusion of the story enhances the haptic connection between viewers and the images onscreen.
mother! dives into heavy themes with religious allegories that may not be picked up on a first watch. This doesn’t take away from the experience, though, which isn’t the case for some films that rely on the deeper meaning for enjoyment/understanding.
The characters’ lack of names as well as the mains being called “Him” and “Mother” set the fantastical scene; the whole story tying it together. “Him” represents God, for he is in control and is supposed to be the creator, while “Mother” is Mother Nature. The house represents Earth; Mother Nature building it with love just for it to all be torn down and taken away from her.
Furthermore, Requiem for a Dream (2000) portrays the stories of four addicts and how devastatingly quickly their lives can go downhill to a point of no return.
Director Darren Aronofsky explores addiction in a realistic manner, making the audience uncomfortable and forced to examine their own problems. Aronofsky formulates an intense atmosphere full of overwhelming distortion and delusion. Unlike Black Swan (2010), this film is one that most won’t enjoy rewatching.
Throughout the film, there are many unique camera angles and shots, including split screens (1:30, 17:04), seemingly handheld shots (48:12, 1:00:35, 1:06:29), distorted fisheye lenses, and fast-cut drug sequences (20:15, 29:58, 35:30, 37:40). The split screen scenes create a contrast, or a divide between the characters, emphasizing their respective narratives. It makes it look like they’re together at times, but there’s distance still, a hazy disconnect.
The handheld shots feel personal and intimate, almost documentary style, and as if you’re there with them, experiencing the situations. The drug sequences shift from Harry, Marion, and Tyrone, who were notable users from the beginning to Sara around 35:30. At first, viewers may believe that Sara, Harry’s mom, is only part of the story as his relative that he scams, but can slowly observe her unhealthy tendencies.
The characters’ stories are all different but still overlap besides simply by blood- they’re all succumbing to their weaknesses and addictions, leading to a path of no return. Things start to escalate further, getting worse around the hour mark when it begins to storm, both literally and figuratively. The intertwining intensifying climaxes of their respective battles create tension like no other.
In his article, “What is a Sign,” Charles Pierce details that symbols are “applicable to whatever may be found to realize the idea connected with the word” (Pierce 7). In the film, many symbols emerge.
For example, Sara’s red dress represents what the characters want but can’t have. In Sara’s case, it’s to be on television in said dress, as skinny as she was many years ago. This is unrealistic, for it’s difficult to be actually cast in TV, and she’s old now and won’t be able to healthily, realistically drop the 50 unwanted pounds in a short period of time.
Harry has multiple visions of Marion on a boardwalk in the dress, exemplifying the ideal life he wants to share with her, while unfortunately being unable to, specifically when he envisions it while in a hospital hundreds of miles away from her. The movie concludes with all of the leading characters in the fetal position, representing their vulnerability.
Moreover, Aronofsky’s 2014 film Noah starts off differently from his other films, intertwining animation with short, vague shots to portray a version of the beginning of time.
Viewers are quickly made aware of the religious themes, as it begins with the story of Adam and Eve. It follows the traditional story accurately for the most part, minus Aronofsky’s personal touch and spin on the events that allegedly transpired.
The director creates a tense atmosphere from the jump, adding to the overall effect of the movie. Massive sets are utilized to represent the vast world the characters are traveling through. There are many fantastical elements as well, such as the giant rock monsters and creatures they encounter. Aronofsky typically includes these elements, but on a smaller scale, for his other works are more bluntly realistic and less metaphorical than Noah.
Themes of brutality in human civilization are introduced, depicting the senseless cruelty of the masses. The main character, Noah, teaches his child not to take what isn’t theirs or what can’t be used, while the others hurt animals and slay those who aren’t a part of their group.
In their article Cinema/Ideology/Criticism, Jean-Louis Comolli and Jean Narboni state, “The content is not explicitly political, but in some way becomes so through the criticism practiced on it through its form (Commoli, Narboni 3).” This film is inherently political, as it criticizes the selfishness of humanity through religious allegories. Around 22:44, Noah quotes, “When it is men who broke this world,” summarizing the film’s stance on mankind.
The film incorporates unique cinematic shots, including silhouettes (11:50), (31:40), and dream-like sequences (11:15). These scenes aid the powerfully metaphorical feel of the film. The CGI animals take me out of the world a bit, but it’s understandable due to it being 10 years old as well as the budget being spread out to many other aspects. There are so many technologically crafted creatures that it’d be nearly impossible to achieve perfection.
Noah’s ark itself reflects his contribution to humanity as a whole, the sheer power and influence of his creation prevalent on screen. His kindness attracts entire species’ trust and protection, which is why he prevails. Those who are ruthlessly vicious get what they deserve, mirroring karma and society as a whole.
Overall, Noah is an epic retelling of the famous religious fabrications, Darren Aronofsky experimenting with contrasting genres from his previous work while making it his own.
The Whale (2022) begins somberly with a wide shot of a van on a road. The bleak undertones are prevalent from the beginning, which made me hesitant as this was a first-time watch.
I had heard many mixed reviews and had wanted to see it for a while. This isn’t one of my favorites from the director, but still was a solid watch.
Many themes are explicit in the movie. Charlie struggles with being an outlier in society, for he is morbidly overweight as well as being gay, which was made clear early on.
There are anti-religious anecdotes, for when a Christian came to Charlie’s house to spread information, he was clearly uninterested. In addition, Charlie’s boyfriend was allegedly killed by True Life, the religious organization, which makes it clear why the characters are against religion.
Charlie finds solace in an essay on “Moby Dick”, which is understandable as the comparisons emerge between his life and the whale’s. The film quotes around 15:57, “The whale doesn’t have any emotions, he’s just a poor big, animal.” Charlie contradicts this false perception, as many people pity and minimize those who are obese, but he proves to be a human just like everyone else.
Overlaying wave crashing occurs at 1:55, symbolizing the connection to the ocean and whales. The sound could also indicate new beginnings, the waves washing over the past, paving the way for a fresh start.
Tom Gunning describes cinematic attraction as “its ability to show something (Gunning 2)” in his article The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde.
The Whale shows society’s fear of obesity. The sequences of Charlie eating (18:53, 31:23) are meant to be grotesque in a way, exemplifying and playing into the disgust many feel surrounding fat people.
The film goes day by day throughout the week, depicting the main character’s reclusive life on his journey to death. He attempts to rekindle his relationship with his estranged daughter financially and by aiding her with her schoolwork.
Ellie’s character represents the general public and their lack of respect for those who don’t fit the norm. She’s harsh, but encourages Charlie to better himself in her own way.
Now, onto my personal and instant favorite work by Aronofksy, Black Swan (2010).
Throughout Black Swan, Darren Aronofsky dives into the tortured artist trope through his signature lens. Consistently through his filmography, Aronofsky handles obsession intensely while maintaining a grasp on reality, allowing viewers to feel connected to the characters and storyline but detached enough to make for an enjoyable watch. In this film specifically, the director explores fiction, formulating a fantastical metaphor for mania through the main character Nina’s character arc.
There are constant allusions to Nina’s transformation, including the whooshing of wings (around 5:19, 52:12, etc.), various bird sounds, and the scales on her back.
In the beginning, the audience may be inclined to believe that the scarring on her back is a result of her stress, especially since it’s made clear that she has a scratching problem. Her sanity is believable enough for a good amount of the film, leaving the possibility of complete insanity/delusion out of reach to a certain degree in order for viewers to join Nina alongside her on the journey to madness, not knowing what or who to believe.
Aronofsky does a masterful job of foreshadowing through the duration of the film, dropping enough hints for the ultimate twist to not be predictable but able to be interpreted, especially on an analytical rewatch.
The dichotomy between Nina and Lily, a rival dancer at her studio, grows throughout the film, expanding on the white versus black swan metaphor. Nina’s seemingly stuck in a form of arrested development, her adolescent state displayed via her glaringly pink childish room, which heavily contributes to the overall mise-en-scene, meticulously done by the set decorator.
The almost “in-your-face” black and white visuals are very theatrical as well, adding to the stage feel of the film. The director intentionally parallels the characters, expressing that they’re more alike than they lead on, connecting to the story within the story: the ballet.
Nina is told she isn’t fitting for the role of the Black Swan, and takes the criticism literally, gradually transforming into the dark character both physically and mentally. For example, Nina is gifted flower lilies and even hallucinates Lily being her multiple times, displaying the blurring of the characters.
Lily is everything Nina isn’t, and she wants to be a mirror version of her. The usage of mirrors in the movie is significant, too, constantly reflecting various versions of Nina, confronting her with herself and the truth. It portrays her duality and how she’s almost trapped by what she sees.
Furthermore, Black Swan represents a complicated depiction of the female gaze. In the article In Search of the Female Gaze, Erika Balsom discusses the qualifications of this idea. This film checks a good amount of the boxes, including the main character being a woman, the story being told from her perspective, as well as viewers being able to feel her experiences and enjoy them, not simply from her objectification.
Though, the eroticization of women in the movie may not be a fully conscious gesture, and borders on fulfilling the male gaze at times, such as when Nina masturbates after her instructor tells her to as well as engaging in multiple homosexual encounters with Lily.
These plotlines are fairly relevant to the story and don’t feel completely shallow, but the film could succeed without most of it, and it borders on being patriarchal. It’s a tricky example, though, for it feels self-aware and intentional most of the time.
I felt connected to this film instantaneously, as I have a strong interest in the Female Gaze and its implications. I can’t recommend Aronofsky’s films enough, but Black Swan stands out as a film that won’t leave my head, no matter how many “classics” or other powerful works I consume.
In conclusion, the draw many, myself included, feel towards Darren Aronofsky’s filmography is intentional by the director himself.
He often alludes to what the films mean to him, as well as what he intended audiences to receive from the experience of watching them, while still leaving a firm amount of mystery.
This adds to the lure of his work, for I always feel connected to intense cinema, but Aronofsky’s work is special, for he seems to understand the draw and intent of leaving things unsaid.
