MOTHER! Explained: Every Scene Packed with Hidden Meaning

From time to time, there comes a film that proves difficult for us – one that, however much we would like to, we are not able to interpret correctly. As a result of confusing our own interpretation with that which the creator had in mind, a given work is often unable to demonstrate its merits in full. Just as happened with mother!

It was a very interesting and well-thought-out promotional campaign. Darren Aronofsky’s film intrigued first with its title and distinctive font, then with a great poster, and finally with a mysterious trailer. An intelligent creator, an excellent cast, an enigmatic plot – what could have gone wrong? Everything. The audience and critics largely summed up mother! negatively. The film was a resounding box-office failure and even received Golden Raspberry nominations. It was supposed to be a masterpiece, but turned out a resounding disaster.

But was it really?

Our reviewer, Dawid Myśliwiec, summed up the film with the statement that Aronofsky made a film for himself. And it is hard to disagree with that, since mother! can indeed pose a serious problem for many viewers due to its profound enigmatic nature. After the screening, however, I found myself deeply intrigued by this creation of the Pi director, and with one interpretation in mind, I began to explore how justified it might be.

And I was right – this film really tells the story of a creator’s drama, his relationship with his work, and the process of creation, but in a slightly different dimension – I would say, in an essential one. After careful analysis, I have no doubt that mother! is nothing other than a biblical story based on the Book of Genesis, yet disguised – for misdirection – under an elegant cloak of allegory. You do not believe it? Here are ten pieces of evidence supporting this thesis. Try once more to think about the film assuming that…

Warning! The text is full of spoilers!

God and Mother

The character played by Javier Bardem, Him – that is, the artist suffering from creative impotence – is the Old Testament God. His young wife, Mother, played by Jennifer Lawrence, is most likely Mary – suggested by her pregnancy. One can also interpret this character as Mother Earth, Mother Nature, with whom the Creator formed a special bond, from which the world was born. However, as a result of his blind pursuit of attention, the latter brings the relationship to ruin.

Paradise Lost

The house in which the story takes place is, of course, the biblical paradise. The natural beauty surrounding the house is significant. The course of events also leaves no doubt – the visitors eventually abuse their hospitality and privileges, for which they are justly punished. It is worth noting the presence of numerous octagonal shapes in the house. The octagon holds important symbolism in Christianity, since, like the number eight, it refers to the divine mystery of creation, the union of heaven and earth (a circle inscribed in a square), and the eighth day of the week – eternity.

Adam and Eve

At one point, the couple is visited by mysterious guests. The characters played by Ed Harris and Michelle Pfeiffer are the biblical first couple – Adam and Eve. The order of creation is also preserved in the film. First, the man arrives at the house. During the night, he feels unwell, but He takes care of him. In one shot, he is shown with an injury near his rib – the rib from which, according to the parable, Eve was formed. She appears in the house the next day, when Adam is already feeling better.

The Forbidden Fruit

While showing the guests around the house, a unique crystal is displayed – the master’s prized possession, which under no circumstances may be touched. This is, of course, the forbidden fruit – a test of faithfulness imposed upon Adam and Eve. The temptation, however, proves too great. When the crystal is destroyed, the master of the house for the first time rises in genuine anger.

Cain and Abel

At one point, the Woman and the Man are caught by Mother in an act of lovemaking. Shortly afterward, as tensions begin to rise, two brothers enter the scene – the sons of the Woman and the Man (interestingly, played by the real-life Gleeson brothers). These are Cain and Abel. A conflict breaks out in the house. As a result of depriving the elder son of his birthright, fratricide occurs. The elder kills the younger, because in his eyes the latter enjoyed greater favor from the Man.

Cataclysms

From then on, everything begins to steadily move toward ruin. After the crime, an indelible stain remains on the floor – the Mark of Cain, a symbol of the curse. The plumbing problems are nothing less than the biblical Flood. Meanwhile, the frog seen in the basement foreshadows one of the Egyptian plagues. Clear warnings are thus sent, yet the guests pay little heed.

The New Testament

He is an artist suffering from a temporary lack of inspiration. The people arriving at his home, however, bring him much creative energy. Thus, the greatest work of the Master of the House is born – to be understood as the New Testament. A work that corrects and expands upon the original idea, born from a blind love for humanity.

The Herald

Kristen Wiig plays a publishing professional who plans to release his new text, while also managing its promotion. In the film’s credits, her character is listed as Herald. In our tradition, this is the name of the angel who carried the good news and the Word of God. Later, the term came to describe preachers of new ideas – not necessarily positive ones.

Jesus, Called the Messiah

This good news is, of course, the birth of the child. The pregnant Mother, in great pain and anxiety, gives birth to a baby. A baby that is deeply desired both by the people gathered in the house and by the Master himself. This is clearly the New Testament Son of God – Jesus. Yet his life is short. Whereas in the Bible he has thirty-three years to fulfill his mission, in the film he is granted only a few hours. He is torn apart by savage people – followers of a distorted idea of love – who, as a sign of consuming his flesh, deem themselves blessed. The analogy is unmistakable.

The Apocalypse

Mother, however, does not give up. Filled with fury toward the people who had constantly crossed one boundary after another, ultimately committing the murder of her only son, she decides to put an end to the madness once and for all. The explosion is therefore the Apocalypse – the moment of inevitable destruction toward which we move as imperfect, flawed inhabitants of the House. But who survived? He – God – who, enriched by this painfully instructive experience, already has an idea for a new, better beginning – a new creation. The key question is: will we be allowed to take part in it?

How do I understand mother! and why do I consider this film a masterpiece? It is an extraordinarily precise and profoundly fascinating commentary on religion and the mechanisms of the world we live in. It is a paradox that Aronofsky – a declared atheist, yet one clearly fascinated by the universality of biblical ideas – managed (once again) to create a work that far better conveys the essence of the stories forming the foundations of Judeo-Christian culture than traditional biblical cinema, often so full of pathos that it belongs more in a pulpit than on a screen. 

mother! exposes the ignorance of those who approach age-old principles uncritically and thoughtlessly. It tests the viewer’s awareness of cultural meanings and captivates with the perfection of their interweaving. mother! is a creation designed with surgical precision, where almost every scene, every word, holds a deeper meaning. Exactly as in the book that served as the director’s source of inspiration. Yet the truth hidden behind these meanings is something we must discover on our own.