Plot: Following the sudden death of his mother, a mild-mannered but anxiety-ridden man confronts his darkest fears as he embarks on an epic, Kafkaesque odyssey back home.
Genre: Pyschogoical Horror
Cast: Joaquin Phoenix, Patti LuPone, Nathan Lane, Amy Ryan
Director: Ari Aster
Ratings: ⭐️⭐️⭐️
Review: Ari Aster’s bold and confident cinematic style shines through once again in Beau Is Afraid, showcasing his unique vision. Departing from his previous works, Hereditary and Midsommar, this film takes audiences on a surreal journey that is both unsettling and captivating. A24 must have given Aster a generous budget because instead of therapy, he delivers a thought-provoking masterpiece starring Joaquin Phoenix.
Beau Wassermann (Joaquin) is a middle-aged man grappling with depression and acute anxiety, residing in a decrepit neighborhood that seems devoid of concern, even with a corpse lying at the intersection. As Beau tries to catch a flight to visit his mother, he faces a series of panic-inducing events. The most notable of these is his neighbor’s constant requests to lower the volume of his music. From this point onward, the film unfolds like a feverish dream.
Joaquin’s portrayal of a child trapped in a man’s body is remarkable, complemented by the dystopian setting of the neighborhood that raises questions about its significance. It becomes evident that we are witnessing events through the lens of a child, as Beau’s mother, Mona Wassermann (Patti LuPone), always sees him as her little boy, even during intimate moments. The film’s opening shot, which depicts the horror of birth from an infant’s perspective, sets the tone, presenting the neighborhood and its sinister inhabitants as reflections of society through a child’s eyes. They may also represent fears instilled by a mother, such as the fear of not taking water with medication or the fear of leaving keys in the door. In this world, leaving the apartment gate open invites strangers inside.
Beau Is Afraid can be divided into four distinct acts, with Beau’s journey after his mother’s death serving as the first act. It feels like a child lost in an impersonal system. When a caring couple, Roger (Nathan Lane) and Grace (Amy Ryan), rescue Beau from a deranged man known as the Birthday Boy Stab Man, who happens to be naked and identifiable by his circumcised penis, Beau becomes their foster child, intended to replace the son they lost. Their daughter, Toni (Kylie Rogers), behaves like an overprotective girl whose personal space has been invaded, adding to Beau’s anxieties. A particularly tense scene occurs when Toni pressures him to smoke weed. Nevertheless, Beau must find a way to attend his mother’s funeral.
The film becomes increasingly complex when we realize that all these experiences may be manifestations of Beau’s guilt and his mother’s accusation of his self-centeredness. Beau is so absorbed in himself that his mother believes he would have only cared about himself even when he emerged from her womb. Shockingly, the film explores a disruptive, Oedipal relationship with a monstrous maternal figure, portrayed with mesmerizing skill by Zoe Lister-Jones as the younger Mona. In a hypnotic monologue, she lies to her child, claiming that he would die if he orgasms, just as his father and grandfather did. Beau Is Afraid presents itself as an intensely dark joke, simultaneously silly, humorous, and disturbing. Some may view it as a nonsensical joke, focusing on its repetitive eccentricities, while others will appreciate its enveloping screenplay, which evokes a feeling akin to hearing a joke that cannot be laughed at.
Aster’s signature cinematic touches are evident throughout the film. The initial waves of anxiety harken back to the intensity of Midsommar, while a striking sequence set in a local theater troupe in the woods is hauntingly beautiful. Aster critiques the false sense of hope perpetuated by art forms like theater and movies, raising existential questions and highlighting Beau’s longing for a father figure and a family of his own.