Darren Aronofsky’s films are about the body as battlefield — craving, decaying, reaching for redemption and collapsing under its weight. Requiem for a Dream (2000) is addiction as apocalypse, a symphony of repetition and ruin powered by Ellen Burstyn’s tragic hunger for fame. The Wrestler (2008) trades chaos for quiet despair, with Mickey Rourke’s washed-up hero chasing applause like a drug — a portrait of broken masculinity and fading glory. The Whale (2022) completes the cycle: Brendan Fraser’s Charlie seeks forgiveness through reconnection with his daughter, eating himself alive to prove he still feels. Across all three, Aronofsky obsesses over self-destruction and the impossible longing to be seen again — by God, by the crowd, or by one’s own child. His cinema is a study in human ruin: brutal, sacred, and endlessly reaching for grace.
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