– in which a reclusive protagonist is as hemmed in by her own trauma and addiction as she is any literal limitation to leaving the home – you can watch its director, and see the similarities. Aronofsky’s tendency to wallow in human misery in the guise of examining the “dark side” of human nature is certainly front and centre here.
Charlie is a morbidly obese Idaho man whose dwindling health is becoming a pressing concern to those around him. His nurse Liz understands, on some level, that he has given up after the suicide of his partner some years before, and that Charlie himself is pointedly attempting to kill himself via his dysfunctional relationship with food.Meanwhile, a door-to-door Christian missionary, Thomas , unwittingly befriends the reclusive man in what is to be the final week of his life.
Filmed with typical shadowplay and jagged angles by Aronofsky’s director of photography Matthew Libatique, this is depressive stuff: Charlie’s relationship with a cruel-minded teenage daughter is particularly lacerating material. Equally difficult is the harm Charlie enacts on himself: from the armchair in the crepuscular home he does not leave, we see Charlie eat until he is literally vomiting, only to eat more again.
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