Darren Aronofsky is one of my favourite film directors and always makes extremely thoughtful and original films that are brimming with his signature style.
With his latest film, Caught Stealing, currently playing in cinemas, here I rank his filmography from worst to best. It’s telling that I even have plenty of respect for his weakest film.
9) Pi
A challenging watch, Pi takes a few watches to get your head around and its ambition is certainly to be admired. This low-budget surrealist debut from Aronofsky centers around an unemployed mathematician Max Cohen (Sean Gullette), who lives in squalor in a Chinatown apartment in New York and believes everything in life can be understood by numbers. But this Lynchian film isn’t just about maths – there’s plenty of commentary on religion too, and you have to admire the film for its frenetic tone, committed performances and manic Clint Mansell score.
8) The Whale
The Whale is an adaptation of Samuel D. Hunter’s 2012 play and follows a morbidly obese English teacher, Charlie (Brendan Fraser), who has eaten himself to this state following the suicide of his partner. Although the film received mixed reviews, I found it to be an emotionally powerful experience with a terrific performance from Brendan Fraser. Aronofsky beautifully explores the relationship between a father and his daughter and there are many touching moments focussing on Charlie’s outlook of life. I walked out of the film grateful and determined to further my relations with others and to always be positive. Yet, the film deftly conveys Charlie’s pain and hopelessness and it becomes inevitable early on that he is on a path of self-destruction. The way in which Aronofsky portrays binge-eating is particularly harrowing – like Requiem For A Dream will make you never want to touch drugs, The Whale is the equivalent for food. It wouldn’t be an Aronofsky film without the exploration of religion and the events on-screen are interwoven with religious parallels and texts, which lend a pathos to Charlie’s situation.
7) mother!
I still haven’t really made up my mind on ‘mother!’ and I doubt I will until I have watched it a few more times. The first two acts are particularly grim and brooding and develop really neatly into what is a bonkers third act. I think I enjoy the film more for its conceptual nature rather than the actual film itself which I found a little hard to get into at times. That said, the film has made a very long lasting impression on me and I keep thinking about it. Aronofsky crafts some really strong and memorable images and I really enjoyed the characterisation. ‘mother!’ reinforces my love of film and is why I continue to be enamoured with the medium of film. It’s films like ‘mother!’ that challenge their audiences and aren’t just acceptable and dumb that really keep me driven. I’m not really sure (and it is surely deliberate by Aronofsky) what the film means but on first viewing, I found the film to be delirious, deeply allegorical, manic, paranoid and genuinely unnerving. ‘mother!’ is definitely a film that deserves and I appreciate exists. This film has the potential to crawl up the list as time passes but for now, I have to put it 6th.
6) The Fountain
The Fountain is a rather misunderstood film and received mixed reviews on its release. It is frequently enthralling and is a pure spectacle to behold on screen – it’s very impressive to see what one can do with a limited budget. This is in my opinion, Aronofsky’s first explicit exploration of religion and is perhaps one of the director’s most personal films. It features great performances across the board and features a magnificent score by Aronofsky-regular Clint Mansell and stunning cinematography by Matthew Libatique. So why it doesn’t it rank any higher? Its pacing feels rather disjointed and the film is a bit of a slog in parts and is paced too quickly in others. A more ruthless editor who knew how to assemble the film in a better way, I’m sure would have put this up there with his best films.
5) Caught Stealing
While it might seem strange that Aronofsky is directing what appears to be a straight-up crime thriller – don’t worry because there’s plenty of Aronofsky to be found in this darkly original adaptation of Charlie Huston’s 2004 novel. Caught Stealing is a wildly unpredictable ride from start to finish that holds no punches in its brutal approach. Aronofsky is on top form here, and the film is directed with real flair, with plenty of his trademark grimness. This is a film that’s often wince-inducing and blackly comic, sometimes at the same time. It has a real kineticism, and there’s some excellent setpieces, especially a third act car chase. But there’s also heart and I really brought the electic mix of characters, and Aronofsky deftly showcases the dirty, grimy nature of New York.
4) Black Swan
Black Swan was an important film for Aronofsky and it certainly elevated his oeuvre with a Best Director Oscar nomination. This is a dark, panic-inducing film that tackles a strangely hypnotic and hegemonically calm sport. Natalie Portman is electric as the titular character which she won an Oscar for and the cast is rounded out by Mila Kunis, Vincent Cassel, Barbara Hershey and Winona Ryder who all put in very convincing performances.
3) The Wrestler
The Wrestler is a subdued and melancholic investigation into its main character, played magnificently by Mickey Rourke in a comeback role. Rourke is outstanding as Randy ‘The Ram’ Robinson who is a calm yet determined character and Marisa Tomei co-stars here too in what is perhaps a career best performance for her. The Wrestler builds up to an outstanding conclusion and features outstanding cinematgraphy by Maryse Alberti, a departure from Matthew Libatique and a subtle yet memorable Clint Mansell score.
2) Noah
A passion project for Aronofsky, Noah is perhaps one of the most unconventional and controversial mainstream film of recent times. It delivers visually with some visceral action sequences and fantastical creatures yet is a strangely adult film for its 12 rating. It tackles some really controversial and hard to stomach themes and is in many ways, a morality tale. Russell Crowe is outstanding here as the titular character and across the board, the cast are brilliant with Emma Watson perhaps making the best impression as the barren Ila. Noah really narked audiences off and religious devotees but this is a really special film that goes against the grain and really delivers. And again, Clint Mansell’s score and Matthew Libatique’s cinematgraphy once again elevate the film.
1) Requiem For A Dream
Requiem For A Dream is my pick for my favourite Darren Aronofsky film and is perhaps one of my favourite films since 2000 so far. It is a hallucinogenic, nerve-wracking, depressing experience that will put anyone off narcotics far more effectively than a school drugs talk. Aronofsky experiments with form and imagery and Matthew Libatique’s cinematography is especially kinetic and unnerving. Clint Mansell’s score is one of the most haunting of our times and has gone on to inspire many other films. It is a note perfect film and doesn’t degrade on each rewatch. It is a masterpiece.
What are your thoughts? Let me know in the comments or tweet @TheFilmMeister
The Film Meister 
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