At a surprise New York City screening, or rather unveiling, of Beau Is Afraid a few days ago, the Q&A moderator, actress Emma Stone, reportedly began by asking writer-director Ari Aster, “…
That is the first chapter of what Aster has structured more as a Kafkaesque novel than anything else. In the next chapter, Beau finds himself seriously injured and waking in a colorful girls bedroom in a bright and airy suburban home. There he meets Grace , who explains she is the one who hit him with her car, and her surgeon-husband Roger who have taken him into their care, putting him up in the room of their sharp teenage daughter Toni , much to this dour girl’s distress.
Next he turns up in a strange forest and meets a theatre troupe that performing a play that seems to be about Beau, one in which he finds himself taking part, even in animation sequences Aster has tossed into the mix. The next chapter gets even more bizarre and involves Beau finally making it to his family home, having missed his mother’s service but meeting his childhood friend Elaine .
Aster is putting Beau front and center to mirror perhaps what many of us fear most about the world around us, the way we deal with our own lives and our parents, the lack of control we have about all that is swirling around us at a greater pace than ever before. In Beau, through the wildly uninhibited emotional and physical performance of Phoenix, we see a man unraveling, but one who never actually fully came out of his mother’s womb in order to experience what living was all about.
Aster is helped greatly by his frequent cinematographer Pawel Pogorzelski, the ever-challenging production design of Fiona Crombie, and the editing trying to piece this puzzle together by Lucian Johnson. The actors are as game as they come, led by Phoenix’s fearless turn; LuPone and Zoe Lister-Jones as the domineering mother; Posey terrific as Elaine; and such vets on hand as Lane, Ryan and a late-inning appearance by the always welcome Richard Kind.
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