“Because I’m Afraid” is Kogel-Mogel psychoanalysis.  Hard to swallow [RECENZJA]

The lover gives birth to cries that never stop. The cacophony of thoughts is his buddy, he drinks dirt with nervousness, while your brother suffers from anxiety-compulsive disorder. One might say: this is a postmodern man. Anyone familiar with previous Ari Aster films, in which traumatized people who bear the burden of shivering daily lives are constantly lost to the devil, the world, and of course another human being, won’t be surprised by Poe’s pessimistic diagnosis of the condition.

Or maybe it is not about ostentatious doomsday and not some insightful conclusion about the universal mental state of a forty-year-old, but an element of introverted artistic research with the help of an extroverted form. For though it would be somewhat simplistic to describe the film in question as explosive psychoanalysis, Aster unquestionably binds the protagonist, and at the same time us and himself, to the sofa, regardless of the fact that it soon becomes Midgean’s bed.

Gutek Film, A24/press materials

Joaquin Phoenix in “Because He’s Afraid”

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