“Death is the road to awe.”Lord of Xibalba
If there is a common theme to Darren Aronofsky’s films it is obsession, in this case a doctor’s desperate drive to cure his wife’s cancer before it takes her, failing to spend time with her whilst she comes to accept her mortality. Rather than focus solely upon this personal drama, Aronofsky seeks to tackle the more profound nature of death through a separate fiction that mirrors the central narrative, with the same lead actors. This serves to depersonalise the characters, along with a brief running time reducing them to sketches, so that we understand them on an intellectual level but struggle particularly to empathise with them. From the opening ten minutes, spanning multiple eras with fantastic elements and a striking black and gold palette, I feared this would be a frustratingly inscrutable experience. Instead, once its structure emerges, The Fountain‘s ideas about death turn out to be surprisingly straightforward, with far less depth than its ambition.