In at least three of the most important scenes WHALECharlie Darren Aronofsky (Brendan Fraser) explores the guilt of the perverse. In fact, the main theme of this movie, confusing and confusing at times, is that big life question about invisible suffering. On this occasion, the director delves into the disgusting, the distressing and the need to understand human life through its flaws.

But like his other films, his characters don’t make that kind of journey through subtle ideas. WHALE it is so hard that it sometimes causes pity and at the same time disgust. At his best, he has an inspired capacity for grotesque metaphor.

The story of a man isolated by the framework of his body might seem simple if it were not for the ability of the plot to disturb. And he manages, most often by force, to build an unpleasant panorama, carefully deconstruct it. Leaving no doubt about Charlie’s suffering and his eternal sense of a stranger in his own body.

Aronofsky portrayed drug perversion in Requiem for a Dream through undoubted horror more and more absolute. AT WHALE, get something like this. But he also describes his character’s complete fall into psychological darkness through almost gagging imagery. Calling to humanity all the time, the fragility and confusion of a person are broken into many different fragments.

Horror maze in WHALE

AT WHALE, the nasty elements are the language. The director’s camera shows a character hidden behind a black box on a computer screen. A voice that rises to the reading or silence of a listener who is afraid to express any opinion. After masturbating to gay porn, devastated by what he considers to be the dark layers of his life. Even while eating, with greased fingers and trembling hands.

For Aronofsky, it is very important to make it clear that Charlie is suffering, that he is being torn apart by a moral and spiritual wound. But, specifically, what all this complex internal map is manifested in his body. A character so obese that he can barely stand is, in the context of the film, the epitome of desperation. The director strives to make the visual story claustrophobic until the viewer is connected to Charlie’s experience. Everything is in the perception of the body as a violent layer, a destructive limit to any hope and aspiration.

WHALE he develops a version of the body as an oppressive prison. Especially since Charlie was stuck not only within the boundaries of his obesity, but also within the boundaries of his pain and prejudice. As a gay man who confessed his sexuality in adulthood, he still struggles and strives to understand his identity. But Aronofsky is not trying to make self-knowledge a form of liberation. In fact, fight because it’s the other way around. An unpleasant and cruel prison that limits the space for communication, love and emotional relationships to the level of deep pain.

Looking at a man stuck in his skin

Charlie is a hostage. About his physical weakness, about his inability to understand his life and even about the sensitivity that torments him. But also their ailments and inconveniences. His slow physical deterioration becomes one of the central themes WHALE. It is also Aronofsky’s way of dialogue with the perception of good and evil. The camera zooms in on Fraser’s character to show his loneliness and despair.

Locked up in my little apartment Charlie goes through miserable imprisonment. The total marginalization of the world, which little by little becomes more and more painful; the difficult terrain that Aronofsky traverses clears the boundaries of his character’s world. His sensitivity, the search for an answer to the complete loneliness surrounding him, the eternal agony, unable to console.

Much less when her daughter Ellie (Sadie Sink) gives a hint of what her future could be. The appearance of a teenager contextualizes Charlie’s life. It talks about how he accepted his sexual orientation and immersed himself in all his pains. The screenplay by Darren Aronofsky himself, based on the work of Samuel D. Hunter, reveals this version of Charlie’s self-image. “I became a father before I even knew who I was,” he says, stunned and anguished. Ellie, furious, confused, perhaps for all her vitality, is Charlie’s only connection to the world.

WHALE highlights the incredible work of Brendan Fraser

WHALE It would be completely unbearable if Brendan Fraser did not manage to build a deep and sensitive look at acute mental pain. It is his acting that allows the film to be more than just a sleazy parade of grotesque scenes. But beyond that, the interpreter manages to create a representation of Charlie far more than emphasizing representations of his unseen horrors. Dignity that gives the character a total humanity that moves and defies any immediate classification.

WHALE

In the end, WHALE he does not seek redemption for his character, nor does he hint at the possibility that sooner or later things will be “alright”. In fact, the film is an introspective fall into hell. One is so strong and well told that it ends up supporting a version of suffering that is almost poetic at best. Its strongest and most elegant point.

Source: Hiper Textual

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