As they look out to the stars, she imagines that their souls will meet there when the star dies. And we see astronaut Tom, in , travelling there for the event, in a spaceship made of an enclosed biosphere containing the Tree of Life. The three story lines are told nonlinearly, each separated by five centuries.
The Fountain of Bakhchisarai
The three periods are interwoven with match cuts and recurring visual motifs; Hugh Jackman and Rachel Weisz play the main characters for all three narratives. Even within a given narrative, the elements of that particular story are not told in chronological order. Whether these stories are actual events, or symbolic, is not clarified; and, Director Darren Aronofsky emphasized that the storylines in their time periods and their respective convergences were open to interpretation.
Through flashbacks, it is revealed that the conquistador has been commissioned by Queen Isabella of Spain to travel to the New World in search of the Biblical Tree of Life. He is forced to the top of the pyramid, and engages in hand-to-hand combat with a Mayan priest.
He drinks the sap flowing from the bark. But in a reenactment of the Mayan creation myth told earlier in the film, flowers and grass burst forth from his body and he literally gives rise to new life. Izzi has used this time to assess the meaning of life and come to terms with her mortality, but Tommy refuses to accept that she might die and has increasing resolve to find a cure.
She dies shortly thereafter and Tommy dedicates himself to curing not only her disease, but death itself. The narrative for Tom is set entirely in deep space in a small, self-contained biosphere bubble.
It is implied that she is somehow alive inside the tree; but, it is dying and they need to reach Xibalba in order to bring it back to life. His body is incinerated, but the tree is brought back to life. A 15th-century Spanish conquistador is grappling with Mayans in the central American jungle, at the behest of his queen.
And a modern New York neurologist is frantically experimenting with new surgical techniques to cure brain tumours, while his saintly and beautiful wife is dying of one.
The Fountain - Movies - Review - The New York Times
She is a writer and has composed a novel on the Mayans' tree of life in her girly copperplate handwriting in a marbled notebook: it is called The Fountain. While she has accepted her imminent death and wants to live in the present with her man for whatever time they have left, he is in fierce and very male denial, displacing his grief into work.
It looks frankly like an unbearably uxorious tribute from Aronofsky to his fiancee, Rachel Weisz. Her face is always being bathed in holy white light and she wears an outrageous "saintly terminal-illness case" outfit of woolly white hat and coat, looking like Ali MacGraw in Love Story. The fantasy scenes are all fantastically over-designed in a very new agey way; Clint Mansell's musical score is coercive and declamatory, and the whole premise is in any case dishonest. Dying young is a painful, horrible business, full of agony and rage and indignity.
And slightly creepy.