Joaquin Phoenix plays a man dreading a visit to see his mother in this latest and most wildly unhinged feature from writer-director Ari Aster ('Hereditary,' 'Midsommar').
, in which a romance persists, fatally, out of obligation rather than love. Even by those standards, the guilt he lays bare in “Beau Is Afraid” is next-level; it carries the weight of a thesis and the rage of an indictment.
And what Beau fears most of all is the possibility — nay, the inevitability — that his most shameful thoughts will be exposed for all to see, including his true feelings about the mother whose scornful judgment and smothering affection have been his scariest lifelong constants.The “lifelong” part is established at the outset, with a flood of pulsing, contracting images and the sounds of a woman’s ever-escalating screams: We are being expelled, alongside baby Beau, from his mother’s birth canal.
You’ll be forgiven for remembering it as a brutal, barely modulated pummeling: Over the course of three frenzied but unhurried hours, Beau is chased, robbed, humiliated, nearly drowned, shot at, stabbed, hit by a car, abducted, shackled, drugged, framed for murder and repeatedly deceived and terrorized — a chain of abuses in which the only occasional respite is provided by a sudden blow to the head.
But as we learn in the movie’s superbly controlled first story, leaving his shabby, barely furnished apartment — a Polanski-esque hideaway on a Boschian hellstreet — is easier said than done. With exquisitely moldering production design and symmetrically precise camerawork , Aster pulls us into a grubby, derelict purgatory where the mood is both apocalyptic and apathetic, and where nonstop revelers and knife-wielding predators are none too easy to tell apart.
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