With one month until SXSW 2018 gets underway, we want to take a look at six films written by Film Keynote speaker Darren Aronofsky. His films always spark a debate – you’re either a fan or you’re not. One thing is for sure: you always remember watching an Aronofsky film because it almost always leaves an impression. Aronofsky does not conform to Hollywood standards and stays true to himself, which I applaud. It will be a treat to hear what Aronofsky has to say during his keynote about his path in Hollywood.
“A provocative, and virtuoso filmmaker, we’re thrilled to host Darren Aronofsky as one of SXSW Film’s 2018 Keynotes,” said Janet Pierson, Director of Film. “He’s been an original since his first independent work, and we know it will be a blast for our passionate SXSW audiences to hear his story.”
Max is a genius mathematician who’s built a supercomputer at home that provides something that can be understood as a key for understanding all existence. Representatives both from a Hasidic cabalistic sect and high-powered Wall Street firm hear of that secret and attempt to seduce him.
“Requiem for a Dream” (2000)
Sara Goldfarb (Ellen Burstyn) is a retired widow, living in a small apartment. She spends most of her time watching TV, especially a particular self-help show. She has delusions of rising above her current dull existence by being a guest on that show. Her son, Harry (Jared Leto) is a junkie but along with his friend Tyrone (Marlon Wayans) has visions of making it big by becoming a drug dealer. Harry’s girlfriend Marion (Jennifer Connelly) could be fashion designer or artist but is swept along in Harry’s drug-centric world. Meanwhile Sara has developed an addiction of her own. She desperately wants to lose weight and so goes on a crash course involving popping pills, pills which turn out to be very addictive and harmful to her mental state.
In the dark silence of the sea during World War II, the submarine U.S.S. Tiger Shark prowls on what should be a routine rescue mission. But for the shell-shocked crew, trapped together in the sub’s narrow corridors and constricted spaces, this is about to become a journey into the sensory delusions, mental deceptions and runaway fear that lurk just below the surface of the ocean and deep inside the human psyche.
“The Fountain” (2006)
Three stories – one each from the past, present, and future – about men in pursuit of eternity with their love. A conquistador in a Mayan country searches for the tree of life to free his captive queen; a medical researcher, working with various trees, looks for a cure that will save his dying wife; a space traveler, traveling with an aged tree encapsulated within a bubble, moves toward a dying star that’s wrapped in a nebula; he seeks eternity with his love. The stories intersect and parallel; the quests fail and succeed.
Noah unquestioningly follows the command of the world’s creator to undertake a momentous mission before an apocalyptic flood cleanses the cursed lands of mankind.
Amidst a wild flat meadow encircled by an Edenic lush forest, a couple have cocooned themselves 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. Then, unexpectedly, a knock at the door, the sudden arrival of a cryptic late-night visitor and his intrusive wife will stimulate the writer’s stagnant imagination. Little by little, 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?
Featured image credit: Niko Tavernise – © MMXIV Paramount Pictures Corporation and Regency Engtertainment