Pi

In the genre of weird movies, there’s also π (1998) by Darren Aronofsky (who also directed Requiem for a Dream). The story’s main character, Max Cohen, believes that everything in the universe adheres to patterns that can be understood through numbers. At first he’s using his self-made supercomputer to predict the stock market. But then he meets a zealous Hasidic Kabbalist who hopes to decipher god’s code in the Torah through numerical calculations. At the same time, Max has been approached by a Wall Street firm, who offer him a superchip in return for his predictions. His computer prints out a string of 216 numbers, just like his old computer did before breaking down, just as his math mentor had just before he died, and through some epiphany he recognizes the spiral-shaped patter in the number-string. The Kabbalist and the Wall Street firm increase their pressure on Max, which sends him over the edge of sanity.

The film toys with the thin line between genius and insanity – the maddening truth, the truth in madness, like an Arthur Machen story, or a Terry Gilliam film. Perhaps the most profound statement in the movie is the mentor’s admonition, that “as soon as you discard scientific rigor, you are no longer a mathematician, you’re a numerologist.” This film is no advocate for scientific truths, though, as Max suffers from incapacitating migraines, nosebleeds, crippling hallucinations, paranoia, and possibly schizophrenia. In the end he drills a hole in his skull to be at peace – and never again think about numbers and patterns. Apart from the art-house hip black-and-white and the interesting soundtrack, I found the cinematography terribly annoying – what with the handheld shots, the quick cuts, and the extreme close-ups. Nevertheless, for those who wish to contemplate the ultimate truth – and whether to find it through science or mysticism – this may not be the worst way to spend your time.