Brilliant film if you like the theme and crack its code

Rating: 9/10 (2 October 2017)

As more often with Aranofsky's films this is a firmly religious film barely hidden under a modern setting.
The movie portrays the major milestones in the history of the Judaeo- Christian history of the world in an apocalyptic version. A history of God's adventures on the earth and how mother earth is affected by them.
The couple's large property stands for the earth, or the garden of Eden. The house is the house of God, or maybe Israel, the promised land (Aronofsky is of Jewish descent). Bardem is the Lord, Jennifer Lawrence is mother earth.
The Lord is at first bored by being all the time alone with the virginal earth, though the earth dearly loves Him and tries to be perfect for Him. Because of his basic boredom with the virginal earth He likes it when Adam (Ed Harris, who turns out to love the Lord, is of clean integrity but prone to domination by his wife) and his seductive, untrustworthy and malicious wife Michelle Pfeiffer (Eve) first visit and then come live in the house of the Lord. Despite their imperfections, the Lord loves them, though mother earth is suspicious.
It doesn't take long before Eve seduces Adam to first enter the forbidden part of the house, then touch and accidentally destroy the Lord's forbidden fruit (the glass artwork in Bardem's study, representing the untouched divine present on earth). The Lord gets angry. The receptacle of pure Love is shattered. I think it's after this, the Fall, that Jennifer Lawrence for the first time starts having black spots in her heart.
Then the children of Adam en Eve come on visit. Adam's evil son (Cain) kills his good son (Abel) over an inheritance. The earth is angry, the Lord is forgiving.
There seems to be some kind of a Noah interlude when all the people flee the house of God after the pipes give in.
Then, inspired by all the miserly stories he hears about the world from Adam and others, the Lord writes a poem (the 10 commandments) of ineffable beauty, which make Him suddenly famous and loved with the people so tha they start to flock to His house. The Lord is popular. Suddenly the Lord's house is full of His new people. They are crazy about Him but very much imperfect. The earth feels jealous and left out. Moses is probably the guy who carries the poem around on a stick in the house, and who baptizes all the people with paint. Or else he's the female publisher who then ends up killing folks (during his reign, Moses also killed people according to the bible). The Lord is loved and He loves it.
The virginal earth gets jealous and angry. She wants to make love to the Lord and beget His son. The Lord finally takes the virgin, and she becomes pregnant with His son (who doesn't, therefore, have an earthly father, but only a heavenly father). All through the pregnancy the house of God is on fire: the foreign occupiers (Romans/police) and the inhabitants of the house (the Jews) are battling one another. When the Messiah is born amidst all this infernal turmoil, the earth loves the child but the people, cannibalistic as they turn out to be, distribute and devour His flesh to atone for their sinful natures. The Lord forgives the impure people yet again, but the heart of the earth sours further.
Finally the earth can take it no more to be the neglected playground of all these human sins, pain and madness, and the apocalypse is set in motion: the earth scorches herself and in a huge inferno all the people in it are killed. Not by coincidence but the earth uses Adam's lighter for it, since it's his Fall that put the whole endarkenment of the earth into motion.
The Lord, eisting Beyond the manifest world though present in it, survives untouched, the earth herself is severely scorched but also still exists. But this cosmic round is over so we enter some sort of a primeval chamber, the umbilical origin of the cosmos, and the Lord makes creation anew. He takes the untouched heart of love out of the current earth, who still loves the Lord, and with it, recreates the earth virginal for Himself and the Mother.
The cosmic drama of the struggle between the purity and sin can start anew for what is at heart an essentially spiritual film.
To be noted here is also that Aronofsky's pervasive cultural pessimism dominates also this movie, as is the case for, for instance, also his last religious movie 'Noah'. The same goes for his fascination with how the dimension beyond time and space -call it God or Brahman or whatever- manifest in and interacts with our very much imperfect (human) realm.