![]() ![]() All of these speak to nothing so much as a real lack of any authorial signature.Īnd while The Whale, a largely one-location shoot (fitting of its stage origins) that visually expresses itself through off-kilter blocking choices and some extreme prosthetics work, may not muster the same ostentatious style as Requiem, the two have other things in common. But in the over 20 years since Requiem, the scope of Aronofsky’s cinema has expanded wildly - from the divisive, centuries-spanning folk sci-fi of 2006’s The Fountain, to the Oscar-bait of 2008’s The Wrestler, to the action film-cum-Biblical epic of 2014’s Noah, to two equally over-directed horror films, 2010’s Black Swan and 2017’s Mother!. In those films, lonely, cast-off characters monologue at each other about mundane issues that, thanks to the aesthetic accouterments of Aronofsky’s style, take on vaguely cosmic significance.īack when those early Aronofsky films were released, the director’s name might have appeared in the same discussions around distinctive American indie auteurs that included the likes of Richard Linklater and Hal Hartley. adaptation) Requiem for a Dream favor a similar kind of verbal slugfest approach to their oddball dramas. In particular, both the 1993 student short film Protozoa and 2000’s breakthrough (Hubert Selby Jr. ![]() Hunter, the film tends to feel of a piece with director Darren Aronofsky ’s peak “auteur era,” at least more than anything else he’s made in quite some time. Although The Whale is an adaptation of the 2012 stage play by MacArthur Fellowship-winner Samuel D. ![]()
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