Dedicated as ‘For Darren Aronofsky’ during the closing credits, Baatar Batsukh’s Aberrance has clearly been influenced by the big name director. At a svelte seventy-five minutes, Aberrance muddles together aspects of some of Aronofsky’s greatest hits, namely Requiem for a Dream and Mother! to create a distorted and disturbing thriller.
Aberrance makes for more of a sensory experience than a straightforward narrative piece. There is a story that follows a couple as they move to a remote house in the middle of a snowy forest, but it’s conveyed in a more abstract way. Pinning the pair’s exact relationship and state of mind is difficult and the frequent occurrences of strange or violent imagery make it harder still. The narrative structure is akin to that of Aronofsky’s Mother! and takes some intense concentration to keep up.
Batsukh’s other Aronofsky influence, Requiem for a Dream, is introduced as Aberrance begins to explore addiction. The isolated house is viewed as the perfect place to go through withdrawals, but it is soon apparent that there is something uncomfortable about the property. Much like in the Ju-On series, it appears that all who enter this fairly nondescript structure become infected. Their affliction here is not to be stalked by a mother and her child, it is more that there is a rage baked into the walls. As new people enter, this anger filters into the air and then directly into the tenant causing moments of extreme aggression. The whole hook of the bulk of Aberrance is trying to figure out if the central relationship is abusive or not. Or more accurately, whether their issues existed prior to their arrival, are a result of drug withdrawal, or are supernatural afflictions. Trying to unpack it all is a tad headache inducing, but the variety of reading makes for a rich viewing experience.
From a technical standpoint, Aberrance is full of flair. The score is ever-present and keeps the thin narrative pulsing forwards; the sound design is riddled with the nerve-tightening ticks of a wall clock. Nocturnal walkabouts add an unsettling amount of visuals, as does a strange sequence of the camera ‘rocking’ around locations. It is in the colour spaces that Aberrance’s technical prowess is strongest. The snowy setting is beautiful to look at, but later on, everything turns vibrant red. That alone is gorgeous; add to that a sumptuous green jumper, and the contrast is almost bewitching.
Full of rage, violence and resentment, Aberrance wears its directorial influences on its sleeve. At such a short runtime there is a lot to cram in and the film becomes slightly too much of a sensory overload in places. At other times, there is a lag as the viewer waits for the film to reveal its true intention. The result is a well constructed, but slightly under-baked concept that might benefit from a slightly longer runtime.
Aberrance
Summary
A technically rich film, Aberrance, doesn’t quite land its other components as easily. It does, however, remain a great first step into feature directing and makes Batsukh a director to follow.
Aberrance was reviewed at SXSW 2023.
