火焰中，一个女人在燃烧的噼啪声中伫立，皮肤逐渐碳化，背景里回荡着撕心裂肺的尖叫——这是达伦·阿罗诺夫斯基电影《母亲！》令人窒息的序幕。镜头一转，水晶的微光在黑暗中闪烁，烧焦的房屋如魔法般复原，名为"祂"（哈维尔·巴登饰）的诗人将这件神秘物件置于卧室，而年轻妻子"母亲"（詹妮弗·劳伦斯饰）随即在床榻苏醒。
这座与世隔绝的宅邸藏着太多秘密。当母亲试图粉刷墙壁时，墙体内竟浮现跳动的心脏幻象。敲门声打破宁静，一位自称粉丝的"男人"（艾德·哈里斯饰）贸然闯入。尽管妻子不安，诗人却热情招待这位咳血的不速之客。次日，男人的妻子（米歇尔·菲佛饰）带着窥探欲到来，她刺探婚姻隐私的对话像毒蛇吐信，而水晶的突然碎裂彻底撕裂了表面平静。
血腥的家族纷争接踵而至。两个儿子为遗产争执，长子在卧室用钝器击穿弟弟头颅，飞溅的鲜血渗入地板形成永难抹去的印记。当母亲追踪血迹来到地下室，油罐与突然现身的凶手暗示着更深的恐怖。葬礼上，陌生访客将宅邸变成狂欢场，诗人却在混乱中重获创作灵感——代价是妻子被迫在尖叫的人群中分娩。
影片最骇人的篇章在此展开。新生儿被狂热的崇拜者传阅、折断脖颈、分食殆尽。母亲的反抗引发房屋震颤，她点燃油罐的瞬间，整座建筑化作炼狱火海。幸存下来的诗人从焦尸中取出仍在搏动的水晶心脏，随着物件归位，新的轮回开始——又一位年轻女性在床上惊醒。
这部充满宗教隐喻的心理惊悚片，以极端意象解构创世神话：诗人是不断索取崇拜的造物主，母亲象征被榨干的大地之母，而饕餮的人群则是失控的信徒。当艺术家的创作欲变成吞噬一切的黑洞，连至亲骨肉都成为祭品。阿罗诺夫斯基用癫狂的视觉语言，将环保主义、宗教批判与婚姻寓言熬成一锅令人战栗的黑色浓汤。
---Flames crackle as a woman stands amidst the inferno, her flesh turning to charcoal while agonized screams echo in the background—this is the suffocating prelude to Darren Aronofsky's "Mother!". The scene then shifts to a crystal glimmering in the darkness, its light miraculously restoring the charred house. The poet known as "Him" (Javier Bardem) places this mysterious object in the bedroom, and his young wife, "Mother" (Jennifer Lawrence), awakens on the bed.
The isolated mansion holds too many secrets. As Mother attempts to paint the walls, visions of a beating heart appear within them. A knock shatters the silence when a self-proclaimed fan, "Man" (Ed Harris), barges in uninvited. Despite his wife's discomfort, the poet warmly welcomes this coughing, blood-spewing stranger. The next day, Man's wife (Michelle Pfeiffer) arrives with prying eyes, her invasive questions about their marriage slithering like venomous snakes, and the sudden shattering of the crystal tears apart the fragile peace.
A bloody family feud ensues. Two sons quarrel over inheritance, culminating in the elder bludgeoning his brother's skull in the bedroom, splattering blood that seeps into the floorboards, leaving a permanent stain. When Mother follows the trail to the basement, the oil tank and the sudden appearance of the murderer hint at deeper horrors. During the wake, strangers turn the house into a carnival of chaos, yet the poet regains his creative spark—at the cost of his wife giving birth amid the screaming crowd.
The film's most harrowing chapter unfolds here. The newborn is passed around by frenzied devotees, his neck snapped, his body devoured. Mother's resistance triggers the house to tremble, and the moment she ignites the oil tank, the entire structure becomes a hellish inferno. The surviving poet retrieves a still-beating crystal heart from the charred remains, and as the object is restored, a new cycle begins—another young woman awakens in bed.
This psychological horror, laden with religious allegory, deconstructs creation myths through extreme imagery: the poet is a creator who craves worship, Mother symbolizes the exploited Earth, and the ravenous crowd represents失控的信徒. When an artist's creative hunger becomes an all-consuming void, even their own flesh and blood becomes sacrificial offerings. Aronofsky crafts a chilling black brew of environmentalism, religious critique, and marital寓言 with his frenzied visual language.