Summary of “Darren Aronofsky Says “Mother!” Is About Climate Change, But He’s Wrong”

I wrote earlier this week about “Mother!,” Darren Aronofsky’s new film, starring Jennifer Lawrence and Javier Bardem, describing it as the story of an artist who, in his vanity, makes his partner’s life hell.
On Collider, Aronofsky was quoted as saying that “The structure of the film was the Bible, using that as a way of discussing how humans have lived here on Earth…. I sort of wanted to tell the story of Mother Nature from her point of view.” In the Times, Lawrence revealed the allegory in more detail, explaining, as paraphrased by Melena Ryzik, that ” ‘Mother!’ is about Mother Earth and God,” and that “The movie is about climate change, and humanity’s role in environmental destruction.”
There’s a special kind of movie that invites questions from viewers and answers of the sort that Aronofsky offered, W.T.F. movies in which the drama itself is utterly unclear.
Good directors’ interviews are almost always worthwhile, not for what they say about their films but as a parallel track of creation.
They are, in effect, advertising aimed at a very narrowly targeted set of viewers-namely, film critics-and Aronofsky, even before this week’s round of interviews, engaged in an unusual form of that marketing at the movie’s press screenings.
What directors-especially the good ones-put into their films is different from what comes out of the viewing of those films.
In “Mother!,” Aronofsky works wonders with his cinematic unconscious, tapping into its fury and turmoil to create a film that, while taking off from an arid Biblical allegory, is in fact a literal drama of personal relationships in a world of middle-aged artists and younger women, very much like the one in which he has worked for decades.
In the film, it’s the writer’s will, the effort to break out of an ordinary life through the strength of his artistic creation, that sets the movie, and Aronofsky’s cinematic world, into grotesque and fascinating motion.

The orginal article.