Antichrist
The premiere of the Inglourious Basterds may have been at the center of the 62nd Cannes Film Festival. At least as the number one topic of conversation, Quentin Tarantino's new prank had to be defeated quickly. With “Antichrist” in his luggage, Lars von Trier returned to Cannes after a depression-related break and delivered a scandal à la carte. Before that he had doubted that he would ever be able to sit in the director's chair again. Then the flash of inspiration: If the depression cannot be overcome, it must be filmed. For 40 days of shooting, the Danish black painter fought with his demons in the forests of North Rhine-Westphalia and forced them in front of the camera. And the result hit. Von Trier was supposed to give an account of the brutal film in front of a press crowd that was as disturbed as it was horny. With his own modesty, he countered: He was the most important filmmaker of his time and this was the most important film of his career. The rain of prizes did not materialize, but at least Charlotte Gainsbourg was honored as best female actress for her martyrdom in von Trier's imagination. Even after the revolt that was celebrated with relish in Cannes, the film will polarize, be it through the explicit portrayal of violence or the pretentious staging gesture. “Antichrist” is a panopticon of biblical suffering, an essay about the impossibility of salvation - and thus, despite all booing, damn haunting horror cinema.
She (Charlotte Gainsbourg, I'm Not There, Lemming, 21 grams) and He (Willem Dafoe, A Life for a Life, Platoon) sleep together. In their ecstasy they do not notice that their son climbs on a window ledge, stumbles - and falls into the depths. Months later, she will be hospitalized. But he wants to bring his severely depressed wife home. The calm analyst seems to have come to terms with the loss of the child and is convinced that he can provide efficient trauma therapy. Although she experiences him as increasingly arrogant and indifferent, she accepts his offer. Do not treat your own family, do not sleep with the patient - these are soon forgotten principles. In order to confront you with their primal fears, the couple travels deep into the woods, to the hut "Eden". Hardly arrived, he discovers a dying fox in the undergrowth and watches in horror as the animal tears itself to pieces and prophesies that chaos will soon rule ...
The realization dawns even before the first minute of the film has passed: “Antichrist” knows no small gestures. The prologue accompanies the act of the parents with pornographic precision. Pathetic background music from the opera inflates the childish tapping against the window ledge on the death march. The inseparability of sexuality and corruption is painted on the canvas in grainy black and white and ultra-slow motion. Lars von Trier goes all out - whoever is hoping for the realism of his dogma past (“idiots”) or the cool minimalism of the unfinished USA trilogy (Dogville, Manderlay, “Wasington”) is left out. After all, it is important to set a cinematic monument to hell itself. Accordingly, “Antichrist” continues to be extravagant, for example when a later sex scene in front of a monolithic tree root with an outstanding carcass like Hieronymus Bosch is staged.
The chaos prophesied by the forest animals is unleashed by Trier with images of horror that should drive even a Saw-tempered audience deep into the cinema seats. The film has nothing in common with voyeuristic torture porn. Von Trier is not a sadist who exhibits agony for fun. Here the violence, which is consistently sexually connoted, is a desperate attempt at articulation, a punishment for rejection and at the same time a merciless clinging. A millstone attached to his leg is supposed to hold him close to her: “You wanted to leave me!” His psychology turns out to be a useless collection of hollow phrases, and her aggressive advances are no less hopeless. Communication culminates in isolation, former lovers become beasts. The Antichrist manifests itself in the grandiose failure of a stable relationship with the outside world. The Dane could not have conveyed an experience of depression more uncompromisingly.
Von Trier has found the perfect setting for his intimate inferno in the woods not far from Cologne. Just like flora and fauna, the dilapidated wooden hut "Eden" is bathed in billowing fog. Acorns hail on the roof, leeches penetrate through open windows. When https://zxcmovies.com/watch/k8Va5Iw7/godzilla-vs-kong-2021/online-free.html falls from its nest a few steps away, rears up one last time under the approaching ants and is then devoured by its own mother, nature reflects the fall of man, which has become irreversible for him and for you. Adam and Eve found their way back to Eden, but paradise i