![]() It was received upon its release as an artistic misfire, but it’s clear now that THE FOUNTAIN was simply ahead of its time. An ambitious and overwhelmingly unique meditation on death, eternity, and undying love, THE FOUNTAIN is a pivotal work in Aronofsky’s canon. Their efforts would result in Aronofsky’s third feature film: THE FOUNTAIN (2006). Words simply failed him thankfully, pictures did not.Īll this internal turmoil caused Aronofsky to turn to his old Harvard roommate, Ari Handel, in an effort to develop a story that properly expressed his sentiments about the great beyond. ![]() While they eventually overcame their illnesses, the process left the young filmmaker trying to make sense of it all– caught between the worlds of faith and reason, his intellectual rationality couldn’t reconcile itself with the staggering unknowability of oblivion. In the early 2000’s, director Darren Aronofsky was entering this particular life juncture for himself, and found himself confronting death when his parents were diagnosed with cancer. Thoughts about one’s own mortality can move from the realm of the impossible to the all-too tangible, but most don’t have to deal with the spectre of death directly. It’s a time when many start to grapple with their future and the realism of their prospects and dreams. Entering one’s thirties can be a loaded rite of passage– the telltale signs of aging like grey hairs, chronic pain from old injuries, and a slowdown of metabolism usually rear their ugly heads for the first time. ![]()
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