Watching a Darren Aronofsky movie can make you feel like a lab rat scurrying around a maze for some of that sweet, sweet cheese. First, we intensely search for meaning; then we take a minute to stare blankly at a wall; and finally we frantically return to navigating our nightmarish labyrinth. It is, more often than not, a frightening and dizzying experience.

So, how much of this feeling can be attributed to the dark thematic matter in Aronofsky's movies, and how much of it can be attributed to composition? 


A video essay from STUDIO LITTLE illustrates the way in which camera movement, blocking, framing, and even the shape of objects collectively contribute to the jarring nature of Aronofsky's films.

Aronofsky employs these techniques in order to enhance intensity. As you can see in the video, leading with a mid-shot—placing the actor perfectly in the middle of the frame—can serve as a moment of calm before the storm. (What comes next is a shot in which either the character or the camera spirals into a descent of madness.) With this method of juxtaposition, Aronofsky dictates when the audience is tense, and when we're allowed to relax.

Aronofsky uses spirals and split screens like horror directors use cheap jump scares—only his particular brand of scares tend to delve deep into the subconscious and grind away at the brain until you have nightmares.

Vlcsnap-2009-07-23-17h52m18s243-774078Symmetry in Darren Aronofsky's "The Fountain"

Oh, and there was another pretty good director who used to do this kind of stuff, too.