Chloé Zhao is of the greats. Mark my words.
Unsurprisingly, this film is wonderful. But I’m more interested in the fact that Kathryn Hahn’s career has evolved from “scene stealing sidekick” to “intellectual icon”. She continues to put her all into these films that are kindred and soft spoken, nuanced as ever. She plays gifted, broken women with such grace and vulnerability that they feel present and impactful. I’m a fan of anything she creates, but to be watching her current state of indies has been nothing but serendipitous and fulfilling.
This review may contain spoilers. I can handle the truth.
It’s necessary to preface this with the fact that I am (or, was) a huge Aronofsky fan. He’s ingenious, and sophisticated and he has this distinct style to his films. Plus, his symbolism and metaphors have always struck a perfectly balanced note in the past. Having loved Black Swan and The Fountain, I’ve been super stoked for mother!. It all seemed right: the concept, the cast, the posters. Everything. The spectacle leading up to its various premieres added to my…
I came home from this movie, tears still streaming down my face, declaring it the best film I've ever seen. My mother goes, "why is it that whenever you watch something about old women that no one's ever heard of, you say it's the best movie ever?" And I feel like that pretty much sums up my taste. I get that this movie is imperfect, and I could've done without the focus on Everett, but Maud's story is divine and…