The Fountain - A call to discussion

In their essay Notes on Metamodernism, Timotheus Vermeulen and Robin van den Akker discuss the way in which metamodernism seems to be characterized by oscillation. As part of their deliberations on the concept of the metamodern, they invoke the words of German thinker Eric Voegelin to help explain the nature of this oscillation:

Existence has the structure of the In-Between, of the Platonic metaxy, and if anything is constant in the history of mankind it is the language of tension between life and death, immortality and mortality, perfection and imperfection, time and timelessness, between order and disorder, truth and untruth, sense and senselessness of existence; between amor Dei and amor sui, l’ame ouverte and l’ame close; …’[1]

In this post, I would like to initiate a discussion of Darren Aronofsky’s 2006 film The Fountain as a metamodern text visually articulating various kinds of oscillations concerning the experience of our mortality. Conceived as a ‘metaphysical post-Matrix-Science-Fiction-Film’[2], The Fountain formulates a central concern that has been a ‘constant in the history of mankind’, namely the meaning of our existence. Ultimately, the film seems to suggest that the journey from life into death is what constitutes humanity. However, this journey is not one with a clear beginning and an end. In stead, the acceptance of our mortality allows us to experience this transition in a metaphysical sense. Life and death becomes an oscillation, rather than a simple beginning with an end. In my view, this challenging film overtly visualizes the formation of the ‘In-Between’, which Voegelin speaks of, in that it structurally oscillates between three distinct narrative lines.

Quirky

Quirky is a word that critics apply to American ‘indie’ movies with a tiresome predictability – indeed, it sometimes seems to be treated as synonymous with the contemporary American independent film landscape as a whole. However, while it certainly can be used merely as a tedious buzzword, I would also argue that – properly defined – it may also be the best shorthand we have for one observable strand of recent American film – specifically: the sorts of comedies and comedy-dramas conjured up by names such as Wes Anderson, Michel Gondry, Charlie Kaufman, Spike Jonze, Jared Hess, Alexander Payne, David O. Russell, Miranda July, and so on. I have recently published an article in the new Movie: A Journal of Film Criticism which lays out in detail my interpretation of the term; what follows is a condensation and reformulation of a few of the arguments that I make in greater detail in that piece.

Quirky is a sensibility that can be recognised most easily by its tone, which we might broadly describe as walking a tightrope between a cynically ‘detached’ irony and an emotionally ‘engaged’ sincerity. This tone is created in a number of ways.

Glory At Sea

“I’m always asking my dad how that boat knew to go down right there, right over us. He laughs and says, ‘God did it.’"

Glory at Sea (2008) is a 25-minute short film about a rag-tag group of survivors of a terrible storm who together build a boat and sail out in search of the loved-ones they have lost. It is never explained why they think their children, lovers and friends are still alive; yet they simply steadfastly believe it to be true. The boat they construct is simultaneously grand and woefully inadequate to the task of sea travel; yet sail it intrepidly into the sea they do. Hurricane Katrina is not referenced by the film, yet it haunts its fabric; one need not know that the film was conceived and shot in New Orleans to feel the weight of the tragedy in its every frame. Before reading on, I would suggest that the reader watches the film here: it will be a brief but glorious use of your time.

I take Glory at Sea to be metamodern simply in the sense that it embodies one of the discourse’s many strands: a contemporary form of Romantic Irony – what Schlegel called “the eternal oscillation between enthusiasm and irony”. This is a feature that we can see reappearing in different forms in a significant number of recent movies, and one which I shall be returning to on this blog.