A confused religious girl tries to deny her feelings for a female friend who's in love with her. This causes her suppressed subconsciously-controlled psychokinetic powers to reemerge as seizures with devastating results.
When their headquarters are destroyed and the world is held hostage, the Kingsman's journey leads them to the discovery of an allied spy organization in the US. These two elite secret organizations must band together to defeat a common enemy.
Amidst a wild flat meadow encircled by an Edenic lush forest, a couple has cocooned itself in a secluded grand mansion that was not so long ago burned to the ground, devotedly restored by the supportive wife. Within this safe environment, the once famous middle-aged poet husband is desirous of creating his magnum opus, however, he seems unable to break out of the persistent creative rut that haunts him. And then, unexpectedly, a knock at the door and the sudden arrival of a cryptic late-night visitor and his intrusive wife will stimulate the writer's stagnant imagination, and much to the perplexed wife's surprise, the more chaos he lets in their haven, the better for his punctured male ego. In the end, will this incremental mess blemish irreparably the couple's inviolable sanctuary? Written by
The following statement by Darren Aronofsky was released a week before the premiere: "It is a mad time to be alive. As the world population nears 8 billion we face issues too serious to fathom: ecosystems collapse as we witness extinction at an unprecedented rate; migrant crises disrupt governments; a seemingly schizophrenic US helps broker a landmark climate treaty and months later withdraws; ancient tribal disputes and beliefs continue to drive war and division; the largest iceberg ever recorded breaks off an Antarctic ice shelf and drifts out to sea. At the same time we face issues too ridiculous to comprehend: in South America, tourists twice kill rare baby dolphins that washed ashore, suffocating them in a frenzy of selfies; politics resembles sporting events; people still starve to death while others can order any meat they desire. As a species our footprint is perilously unsustainable yet we live in a state of denial about the outlook for our planet and our place on it. From this primordial soup of angst and helplessness, I woke up one morning and this movie poured out of me like a fever dream. All of my previous films gestated with me for many years but I wrote the first draft of Mother! (2017) in 5 days. Within a year we were rolling cameras. And now two years later, it is an honor to return to the Lido for the world premiere. I imagine people may ask why the film has such a dark vision. Hubert Selby Jr., the author of Requiem for a Dream (2000), taught me that through staring into the darkest parts of ourselves is where we find the light. "Mother!" begins as a chamber story about a marriage. At the center is a woman who is asked to give and give and give until she can give nothing more. Eventually, the chamber story can't contain the pressure boiling inside. It becomes something else which is hard to explain or describe. I can't fully pinpoint where this film all came from. Some came from the headlines we face every second of every day, some came from the endless buzzing of notifications on our smartphones, some came from living through the blackout of Hurricane Sandy in downtown Manhattan, some came from my heart, some from my gut. Collectively it's a recipe I won't ever be able to reproduce, but I do know this serving is best drunk as a single dose in a shot glass. Knock it back. Salute!" [Aug. 2017] See more »
The first time Mother calls 911 and hangs up after it was answered, the 911 dispatcher doesn't attempt to call back. In reality, 911 would immediately call back on a hang up call. See more »
The music in the first half of the end credits is followed by a long period with only quiet ambient noise. The near-silence is broken when Javier Bardem's character's calligraphy is inscribed in white ink next to (and sometimes over) the remaining credits. See more »
I have a nagging feeling that the raves come from people in their 20's and/or younger. I maybe wrong but the debate erupting from this movie reeks of youth. Something similar happened with Terrence Malnick's The Tree Of Life. People either loved it or hated it. From my own personal POV the only different between The Tree Of Life and Mother! is that The Tree Of Life was a masterpiece without any visual cope outs and, perhaps, the only commercial concession were in big star names but even then Brad Pitt gives one of the best performances of his career. Mother ! Is not a masterpiece, not to me anyway. I couldn't connect. Was it a comedy of the absurd? When I saw all the people dancing and partying in the house I had a flash back to Blake Edwards's "The Party"Jennifer Lawrence is a truly gifted actress and beautiful to boot and, quite clearly, she put herself in Darren Aronfski's hands, She, the mother, calls out "Baby"? Hoping to find her husband - She is a Saint Joan half burned already. That truly puzzled me. Can you please give us time to connect with her? A few minutes. If you remember Mia Farrow's Rosemary - She was, emotionally, so far away from what she's about to confront. Polanski takes the audience through her journey and we're with her, every step of the way. What makes it so terrifying is the veil of normalcy that surrounds the proceedings. In Mother, the surreal takes over the atmosphere and destroys it. We can keep a distance without really participating. The same can be said of Ed Harris and Michelle Pfeiffer - They are a welcome, semi-camp addition at the perfect time and then, they disappear. The glory of Ruth Gordon and Sidney Blackmer in Rosemary's Baby is that their intrusion is taken all the way through to extraordinary results. And Javier Bardem/John Cassavetes? If you're interested watch Rosemary's Baby again like I did last night, 24 hours after seeing Mother!and then you tell me. In my modest opinion one is a flawless masterpiece the other is just okay.
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