Hollywood appears poised to resume its cinematic endeavours, offering audiences a temporary escape from the daily challenges of navigating an eternal hellscape. The entertainment industry’s luminaries, including actors, are ready to once again immerse themselves in promoting captivating distractions, presenting pleasing visuals for viewers to enjoy. However, in a peculiar twist, the acclaimed filmmaker Darren Aronofsky is set to direct a biopic about the enigmatic Elon Musk for A24.
A24, known for its release of unconventional and unsettling horror films, secured the rights to Walter Isaacson’s recently published biography of the controversial tech tycoon. This victory followed intense competition among studios vying to produce the next cinematic narrative akin to “The Social Network” or “Steve Jobs,” both also based on Isaacson’s biographies. Aronofsky, the visionary behind last year’s “The Whale,” which earned Brendan Fraser an Oscar for Best Actor, and “Postcard From Earth” for the new Sphere Experience in Las Vegas, is set to helm the Musk biopic.
It already exists pic.twitter.com/QVNrFunPLa
— Ben (@bnwkr) November 10, 2023
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Post credits scene for the sequel
— jolly woofle🇨🇦❤️🇺🇦 “bisexualflag”🎃 (@ItsWoofles) November 11, 2023
Not necessarily. Could tell the truth about him.
— John Firth (@hasimirrossi) November 10, 2023
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It remains uncertain whether Aronofsky will personally adapt Isaacson’s book for the screen. The director, known for works like “Requiem for a Dream,” “Black Swan,” and “Mother!,” has a filmography replete with visceral psychological horror films centred around deeply troubled individuals. This choice suggests that Musk will receive a treatment befitting his complex persona. An avant-garde psycho-thriller exploring the life of a toddler-sized man endowed with immense wealth, fame, and privilege seems to align with Aronofsky’s unique cinematic approach. Musk, seen by some as a symbol of the world’s gravest ills, may find himself under the lens of a filmmaker adept at confronting narcissism, even within himself.
Aronofsky films are primarily associated with existentialism, addictions, pursue of perfection, body horror and obsessions. I don’t think Elon checks any of those points tbf but shiii David Fincher made it work maybe he can too
— Denzel (@TEMZY999) November 10, 2023
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History has shown that some of the most compelling movies revolve around the lives of notorious men. Filmmakers like David Fincher (“The Social Network”), Danny Boyle (“Steve Jobs”), and Martin Scorsese have crafted narratives that delve into the intricacies of such individuals. In the realm of storytelling about flawed characters, who better to capture the essence of problematic figures than another nuanced storyteller? As the industry prepares to embark on this cinematic journey, one cannot help but ponder the profound adage: “When you gaze into the abyss, the abyss gazes back at you.”
From one perspective, there’s a collective reluctance to further indulge Elon Musk, a figure often viewed as a void, thriving on the spectrum of both positive and overwhelmingly negative energy. His peculiar brand of fame, fueled mostly by controversy, remains a perplexing phenomenon. Yet, the recent $44 billion investment in a social media platform solely for the sake of becoming its preeminent fireband suggests a certain level of taunts is warranted. The notion of Musk, one of the wealthiest individuals globally, engaging in what some might deem “loser behaviour” invites a sentiment of mockery. It’s disconcerting that not only does he possess significant wealth, but he holds the title of having the most wealth in our society, a fact that speaks to the ailment of our culture.
That Chinese dude on TikTok pic.twitter.com/RcjuvVaS4M
— VΞRDICT4489 (@Verdict4489) November 10, 2023
Reading the headline “Darren Aronofsky is set to direct Elon Musk biopic”:
pic.twitter.com/TMki7AY9Cs— Hånš (@ssie_bannion) November 10, 2023
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On another note, there’s the curious case of Darren Aronofsky, who, in his film “The Whale,” seemingly believed he was expressing empathy towards individuals dealing with weight issues. However, the portrayal of Brendan Fraser, under 400 pounds of prosthetics, engaging in a food binge, is arguably treated with the same horror as a cinematic monster devouring an unsuspecting victim. And there was backlash for this, which makes sense.
The question that arises is whether Aronofsky’s interest in Musk stems from a personal connection or if it mirrors his fascination with topics such as climate change and mental illness. Is Musk, in Aronofsky’s lens, a subject of empathy, curiosity, or perhaps a blend of both?
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