It’s a ”mother!”

Darren Aronofsky’s film forces viewer out of comfort zone

Love it or hate it, it’s a “mother!”

No matter if you’re fond of or hate uncomfortable films, the latest punctuation and grammatically-compromising Darren Aronofsky film, “mother!,” will ensure that you will leave the theater discussing the events that ensued whether you step out in the middle of it or during the final credits.

The cryptic promotion and advertising for the film, which starred Academy Award-winning actress Jennifer Lawrence, left almost everything to the imagination in regards to any kind of plot to be expected. Heading into the theater, overpriced popcorn in hand, I watched patrons fill their seats with little information other than that Javier Bardem filled a supporting main character role along with Michelle Pfeiffer in a lesser role. Pfeiffer employed some of that sultry Selina Kyle alter ego in her role as a character you already know but have to see the movie to find out.

Viewers were left speculating what was happening throughout the duration of the two-hour feature. This is where the “love it or hate it” aspect rears its ugly head. With an allegorical plot that only becomes slightly obvious towards the latter end of the film, the viewer was invited to relate the cinematic moment to their own interpretation. There are various angles from which the film can be decoded, depending on a viewer’s perspective.

Some took the more literal approach, watching the film as an expression of the strained relationship between a husband and wife, while others read it through the difficulty of the artistic process. That was demonstrated through Javier Bardem’s character seemingly incurable case of writer’s block until he gets a visit from what appear to be familiar guests. Whether or not these are the primary messages the viewer comprehends, they pale in comparison to the larger message that the director, Aronofsky, has elected to feature.

Read on if you don’t mind some spoilers. Though, in an effort to keep as many surprises intact as Aronofsky and Lawrence intended for the viewer, specifics will be spared.

First you should be aware that you’re in store for something a little more eccentric than your typical “tripping in the woods” slasher film. In true Aronofsky tradition, “mother!” is far from the familiarly overdone killer clown movie. The setting is a stunning, but recently fire-stricken, house belonging to Bardem, which is in the process of undergoing a complete interior renovation by Lawrence.

But with movies like “Requiem for a Dream” and “Black Swan” under the director’s belt, it is no surprise that the house is more than a mere setting. The house, in its various states throughout the 120 minutes that we’re invited inside, represents something even bigger than its physical brick-and-mortar form. It is, in its own rights, another character. Hard to grasp, I’m sure, but if you’ve decided that this is already too much mental capacity to siphon into a Friday night, then I wouldn’t suggest “mother!” because what takes place in this environment is even more outlandish than the countryside home itself.

Wooden floors that bleed into rugs, a staredown results in a stolen newborn, and a mysterious yellow elixir all make sporadic appearances. Each represent something specifically tied into the overall theme. Okay, I’ll admit I’m still unsure on the yellow potions importance, but if you find out, let me know.

A memorial service, turned obnoxious party, followed by disregard for several warnings of an unbraced sink, are the series of events that mark the turning point for this movie. So, if it seems like you’re more on the “hate it” side by this point, I implore you to let the remainder of the movie take you on the intricately orchestrated roller coaster that Aronofsky intended.

Step out of your comfort zone and go see the methodical horror movie inspired by actual global issues that we’ve all had our own role in attributing to. Do this and decide for yourself whether you love it or hate it enough to make it to the credits—where hints at the theme are still executed, sprinkled throughout the text.

In the meantime, see if you can pick anything up from the first movie poster released early this summer.