As the credits began to roll, the audience with whom I saw Darren Aronofsky’s newest film, Mother!, reacted with hushed groans and awkward laughter. This was not the film anyone expected to see. I freaking loved it.
The trailers were vague, but suggested that the film, which stars Jennifer Lawrence and Javier Bardem as an unnamed couple whose home is gradually invaded by an ever-multiplying family of belligerent troglodytes, was going to be a horror film, or at least a thriller or some sort. And it was, although one so oblique that it hardly counts as a film at face value, let alone a genre film.
My roommate turned to me and barked, “What did you bring me to?” before rubbing his beard pensively and continuing, “I’ll be thinking about this movie for a year.”
If you’ve seen, like, anything Darren Aronofsky has released in the last decade or so (and, really, anything he’s ever released) it will not be surprising that his new home-invasion thriller is actually a spiritual meditation.
There are, I imagine, plenty of articles that will lay out precisely how each of Mother!‘s jarring, phantasmagorical images correspond to this or that passage from the Bible, or the Talmud, or the great works of Hebrew Pseudepigrapha, but I want to zero in on a handful of specifics, and the implications thereof.
There will be spoilers ahead. Actually, all of them. If you have not seen the film and aren’t planning on it, I have included a fairly detailed synopsis below. If you have not seen it and plan on seeing it, read no further.
Not unlike his 2014 retelling of the biblical story of Noah and the ark, Mother! is an eco-parable. Rather ingeniously, he dramatizes the biblical story of creation and the Fall – and of multiplying and filling the earth, and, finally, of the flood – from the perspective of Mother(!) Earth.
Jennifer Lawrence is Mother Earth, envisioned here as the nameless bride of a nameless Javier Bardem – a poet, and an illustrious one. They are in the process of rebuilding their house, a beautiful mansion situated on the quiet countryside. It burned down before they met, and our heroine has taken it upon herself to restore it to its former glory.
Soon, a strange man (played by Ed Harris) arrives at their doorstep. He is new in own, and had been under the impression that their idyllic mansion was a Bed & Breakfast. Javier Bardem forgets that hotels exist and invites him to stay the night, much to his young bride’s annoyance. Their unexpected visitor manages to traverse one boundary line after another – he smokes in the house, even after the woman of the house requests that he stop, he pries into their personal life in ways that anyone marginally versed in etiquette would know to be inappropriate. And he is sick, quite so: before retreating to bed, Lawrence witnesses her husband assisting their guest as he expels the contents of his stomach into their toilet. In a blink-and-you-miss-it shot, we catch a glimpse of the strange gash in Ed Harris’s side.
The next morning, his insufferable wife (played by Michelle Pfeiffer) arrives, also unannounced. Lawrence discovers that while she slept, her husband gave Harris permission to invite his wife to stay with them “for as long as they need”. Naturally, she is not pleased, as their guest’s wife proves to be even more prying and unsavory than he. More than anything, she presses – and presses some more – as to why the couple does not have children. Noticing Lawrence’s reticent body language – as these types always do – she corners her while the men are out exploring and reframes her question: Why doesn’t she want to be a mother?
Noticing the terror in her eyes – as these types always do – Pfeiffer realizes that she does want children.
Almost on cue, Harris and Pfeiffer’s own children show up uninvited, barging into the house to have a shouting match, which ends with the elder son bludgeoning his younger brother to death in the den before fleeing the scene of the crime.
Bardem leaves Lawrence alone to follow the family to the hospital. A few hours later, he returns alone. Finally, she thinks, things may return to normal.
They won’t, of course. Without warning, Ed Harris and Michelle Pfeiffer return to the house – with their entire extended family. Our heroine is horrified. Her husband welcomes them with open arms and invites them to make themselves at home. Without mentioning it to her, he had invited the family to hold a funereal gathering in their kitchen.
More friends and family arrive by the minute in full funeral dress, with baked goods wrapped in tin-foil and absolutely no sense of restraint toward their host’s property: While Bardem delivers a speech in honor of the deceased son, rowdy guests co-opt the master bedroom to have sex while others dislodge a washroom sink from the wall, breaking the water main and flooding the house. Bardem doesn’t mind, but Lawrence finally snaps, expelling the guests from her house in a rush of fury so commanding that even her husband counts the cost and opts against gas-lighting her again.
After the dust settles, they are alone again. Still riding the adrenaline rush of the evening, She breaks again from her passive disposition and challenges him to have sex with her. He obliges, and she conceives.
We jump forward approximately nine months. The house is finally complete, and the baby is almost due. Bardem has finally completed his magnum opus, which he gives to Lawrence to read. “It’s perfect,” she says, “It’s beautiful.” His publishers agree. And so do his readers. It sells out nearly immediately.
As she sets the table for dinner one night, there is a knock at the door.
It is a group of devotees. They have come from far and wide to meet the poet. Lawrence asks him to send them away so that they can dine together in peace, to which he agrees. After a few moments, he has not returned. She checks on him to find that the group has multiplied, and he has done nothing to deter them.
Several devotees enter the house through a side door and begin using her appliances. She tries to kick them out, but they inform her that “the poet says that his house is our house.” More devotees force their way inside, and his publicist spots her. Gleefully, she clutches Lawrence’s face, “It’s the inspiration!”
The devotees begin tearing the house apart. One steals the phone while Lawrence tries to call the police. “That’s my phone!” She cries. “I have to have something of the poet’s!” the devotee snarls back, and then hobbles away.
Police arrive and begin shouting at the guests through a megaphone, followed by a swat team in riot gear. They open fire on the devotees, who scream in terror and become even more destructive as they scramble. The pregnant Lawrence runs for safety, looking for her husband. She happens upon his publicist, who warmly greets her as she fires rounds into the covered heads of several hostages. “Close the door,” she says.
The house becomes a war zone – literally. Grenades go off in the corner of the screen, and the house is filled with dust and ashes. A friendly soldier grabs Her and pulls her to safety. As he instructs her the way to the safe zone, his skull breaks apart from the impact of a sniper’s bullet. She screams and flees, now bloodied from the commotion, up the stairs, which are lined with guest reaching out their arms in religious devotion to her pregnant stomach. They’re awaiting the coming of the child inside her. She begins to go into labor.
At the top of the staircase, she finds her husband. He hugs her and brings her into the master bedroom to have the baby. is born, healthy and strong. Bardem hands him to Her. The commotion in the house has died down. “Send them away,” she entreats her much-Beloved husband. “They’ll listen to you.”
He ignores her, and asks to hold his child. She refuses until he sends them away. “I could not get them to leave even if I tried.” He replies, and asks again for his child. “That’s not true,” She snaps, “And you know it.” She holds her ground.
“I do not want them to go.” He finally admits.
She clutches her baby desperately while he menacingly scoots his chair closer. “Give me my son.” He growls. She doesn’t.
Hours pass by, and she has fallen asleep. When she wakes, her baby is gone. Rushing out the bedroom doors, she sees the crowds passing the baby amongst themselves, touching him with their hands, oooh-ing and ahhh-ing. She screams. “They just want to touch him!” Bardem laughs, enraptured at the love that enlivens the crowd.
As they pass the child along to one another, its neck breaks.
Lawrence screams in terror and sprints down the stairs to take back the corpse of her baby. When she arrives, it is on a platter, half-eaten. The devotees have baby in their teeth. She falls over, sobbing uncontrollably. Bardem picks her up. “They killed him!” she cries. “I know,” He whispers gently, “But we must find a way to forgive them.”
This is the last straw for Mother. Calmly, she lifts herself to her feet, makes her way to the basement, and opens the furnace. Pouring oil all over the floor, she lights a match, and sets the mansion and all of its occupants ablaze.
Except for her husband, who comes out unscathed.
He carries her back up the stairs and into the ruins of their home.
“What are you?” She asks, as she begins to draw her final breaths.
“I am I.” He smiles.
“Where are you taking me?”
“To the beginning.” He whispers. “We must start over again.”
“Why? Why am I not enough for you?” She protests.
“Nothing will ever be enough.” He says. “Or else I could not create.”
She gives him permission to use what is left of her love for him to create the mansion afresh. It begins to reanimate around them. We watch as the first frames of the film play out before us again – the burnt house becomes new again, and a new woman appears in His bed. The events of the film will play out again, apparently, as they had before the events of the film, perhaps forever.
The subtext is fairly on the nose: We are guests in Mother(!) Earth’s house, and She can expel us, infinitely, on loop, if she so desires, as we see in the Bible.
Indeed, the first eleven chapters of Genesis narrate a cyclical expulsion and recreation narrative: In Genesis 1-2, God creates, and in Genesis 3, humanity is expelled from the microcosm of Eden. In Genesis 4, Cain is expelled from ‘the land’ for Killing his brother. Finally, in Genesis 6, the Earth expels humanity once and for all: God opens the floodgates of heaven, and the world is flooded, killing everyone, save for the ‘righteous’ family of Noah.
But the ‘righteous’ ones whom God preserved to create the world afresh are a cancer, too, and Noah’s son Ham is expelled from ‘the land’, and Noah becomes a drunkard, and their descendants build the Tower of Babel in a strange campaign to dethrone the gods. They’re expelled, too. Around this point, the reader gets the sense that there’s not going to be a version of this that doesn’t end in expulsion.
Which leads the reader to pose the question: Why did God create, instead of not create?
And here lies the – perhaps unintentional – subtext beneath the subtext.
Aronofsky’s Mother! offers an answer to the reader’s question.
Why did God create – why does He invite guests into His home whom He knows will destroy it? Because His appetite for love is insatiable, and they will love Him. ‘Mother Earth’ is not enough. His capacity is bottomless. He craves the affirmation of His creatures like the Poet craves the admiration of his devotees. He is like an artist who creates from neurosis – to be understood, to be loved, to be wanted by multitudes. Nothing, and no one, is enough.
And so, embedded within Aronofsky’s eco-parable is a kind of theo-critique. That is, intentional or not, the message of the film is that ‘Father God’ puts ‘Mother Earth’ through endless cycles of abuse to oblige His devotees, ultimately, because He treasures the love that they pour out upon Him.
I remember a dreary Sunday morning, sometime during the latter Bush’s Presidency, when I asked my Sunday School teacher if God was lonely, if that was how come He made everything and everybody. She cocked her head and said, “What do you think?” I said, “I think I’d be lonely if it was just me up there in heaven all those years with nothing to do.” Another kid chimed in, “That sounds boring.” And another, “I’d make everything football. And then it would all be football. Then I’d never be bored, ’cause it would all be football.”
One little girl was the theologian of the group, though I am not sure for which religion: She raised her hand and said, “Maybe ’cause he wanted somebody to love Him.” The teacher nodded her head and said, “Ahhh,” before writing on the board: “GOD CREATED MAN TO HAVE FELLOWSHIP WITH HIM.” She went on, “Imagine if you didn’t have aaaaaanyone who loved you. You wouldn’t be very happy then, would you?” She underlined the sentence that she had written. “God made everyone so that eeeeeeveryone would love Him.”
We ohhhh‘d in unison. That was the day that I learned that God is a parasite who creates people because He’s lonely and wants to be loved. Now, it sounds pathetic when you say it in a sentence, and Mother! will be lambasted by Christian talk show hosts and culture warriors for implying it, but it’s probably what most people believe, at least implicitly.
And so, Mother! does not amount to an ‘attack on the Christian faith’ (as several more uppity critics have have clamored) so much as an ecological critique on what is probably one of our culture’s standard assumptions about God. The offense of Mother!‘s ending, one hopes, will be jarring enough to shake the public loose of this vision of God as sycophant and God as leech.
Indeed, Bardem’s Poet bears no substantive resemblance to the Trinitarian God at the center of the Christian story. He is more like a demiurge, perhaps, even, Marcion’s demiurge. He’s an antigod, who drinks people dry to satiate what’s lacking in Himself, for the love they can give Him, who enlivens worlds to crucify them for His iniquity.
This is as good a starting point as I can think of to introduce people to the God who really did create the world from Love – not Mother Earth’s Love, which He takes out on loan, but His own Love, which He pours out, to overlay the vast nothing that covers the face of the deep, to create beings who are not Himself, not to plumb their depths for the Love that they can feed Him, but to spill the Love from His own veins into theirs, to multiply His own contentment into them, to build a cosmos out of people He does not need, with Love He does not lack, to propagate His own joy into creatures He will not forsake.
And, as such, this view of God – the Christian view – changes how we answer the questions that the expulsion narratives in the early chapters of Genesis pose to us. Like Bardem’s Poet, He offers His son to be torn apart and devoured by the masses. But the two couldn’t be further from each other: The Poet gave His son as a sacrifice to appease his devotees – to wring more affirmation from their weary bodies, to enjoy their awe. The Trinitarian God at the center of the Christian narrative, however, gave up the Son so that He could create the world. The Godhead – Father, Son, and Spirit – knew, like the Poet, that His creatures would destroy each other and destroy His ‘house’, and more – they would grow so destructive that they would necessitate their own destruction. And so the Godhead – Father, Son, and Spirit – determined together before creation, that the Son would present Himself as a sacrifice to redeem God’s creatures. The God whom we meet in Jesus is everything Javier Bardem’s demiurge isn’t.
Mother! is a better film than Noah, although Noah has better theology. Whereas Noah saw God Batting in Mother Earth’s corner against a belligerent Humanity, Mother! breaks ‘Father God’ and ‘Mother Earth’ apart without warrant, as though each have conflicting agendas.
Nevertheless, like Noah before it, Mother! proves itself to be a near perfect jumping-off point to share the gospel with filmgoers jostled enough by Aronofsky’s provocative suggestions that they are moved to search the scriptures.