Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
When nature turns evil, true terror awaits.
A grieving couple retreats to their cabin 'Eden' in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse.
You can say alot of things about lars von trier both good and bad but you can never say he didn't serve up enough provocative portions of psychological gobbledygook to keep us chewing on our cud for days on end!
The opening scene in black and white is unbearably beautiful! If you look at it too long your retina's will surely fry for they have never been ravaged by such exquisite imagery!
The slo mo acts of unbridled amour accompanied by the intensely haunting aria Lascia ch'io pianga have been seared into your memory, the branding iron still stinks of burnt flesh! The other shoe falls an innocent young life is taken! You hear the sizzle as the iron finds…
So.....I guess von Trier took the whole 'torture porn' thing too literally.
I can take the pretentiousness and can forgive the self-indulgent ramblings and thickly laid on self-importance.
I can even stand the yucky bits.
What I can't stand is the shallow, cold and completely unengaging treatment of its potentially intriguing subject matter.
“Nature is Satan's church.”
-She (Charlotte Gainsbourg)
Over on the Internet Movie Database, someone once described Lars Von Trier as, and I quote, ‘an arty wanker’.
Now, although that is perhaps the most unsophisticated and rudimentary way of expressing it, they did have a point. It isn’t hard to see why Trier could be considered pretentious, especially with his most controversial outing yet, Antichrist.
To say it is unforgettable is a gross understatement. Rather, for better or worse, it sears itself into your subconscious, tapping its way into your most deep seated fears. It is a film that will astonish and infuriate in equal measure, a film that cannot be simply watched, but felt. The exact emotions felt will differ…
This review reportedly contains spoilers. I can handle the truth.
Do not be mistaken. This is a film by the aberrant and outlandish Lars von Trier, who after a lengthy bout of depression made a film in 2009, which is an 'uneasy-intimate' experience with subtle, slow motion shots of snow fall, an explicit shower sex-scene and babies accidentally falling out of open windows. The camera follows the entire 23 second fall of the toddler until the tiny thing (I am still trying to convince myself that it was only a film prop; it certainly was, but not the fiendishly beautiful direction) makes contact with asphalt.
The metamorphoses of the film into a full blown violent, psychological horror drama is film-making at its best and most vile. Not everything is in…
Those were probably the most common sounds/phrases coming out of my mouth while watching Antichrist. After a brilliant and hypnotizing opening, Lars von Trier takes your hand and guides you through a misty realm of wo- "HOLY FUCK WHAT IS THIS SHIT."
I must say. Antichrist is unlike anything I've ever seen. Its like Evil Dead as written and directed by Terrence Malick. Its cold and calculated and is light on the shocks until they sneak up and strike. Antrichrist is labeled as a horror film but its hardly conventional horror fare. Instead its a quiet film that resembles an awkward neurosurgical operation rather than a horror film you're used to seeing.…
Lars Von Trier's provocative 2009 film Antichrist could be deemed a cinematic Frankenstein (and the Director a kind of Tarantino for the art-house crowd) with it's blatant nods to the Director's influences in Tarkovsky, Dreyer and Bergman as well as the post film credits which call out a department of researchers on; misogyny, mythology and evil, anxiety, horror films, music, theology and therapy. But in looking for the beauty in the beast amongst this witches brew of ideas, themes and symbolism, as well as some of the most gruesome self-mutilation imaginable, surfaces an existential horror masterpiece that has absorbed my thoughts and entirely this week.
After my first viewing a few years ago I felt physically ill and…
This review reportedly contains spoilers. I can handle the truth.
aka Charlotte Gainsbourg's character does it again. von Trier always has pretty solid cinematography
I'm not a fan of Lars, but I like some of his films. This was a juicy one. I'll always remember Dave looking away from the screen half the time.
This was the first film I saw at the Landmark E street Cinema, I watched it with a group of high school friends and we somehow all got in without meeting the requirement to show ID.
I was never the same after my first Lars Von Trier film, I do not recall how I heard about it nor how I convinced the group of friends to go with me.
Since this film I have been devouring the work of Von Trier
Another one of those films that one is either going to love or hate. I don't think there can be a neutral opinion on this film.
Grim, dark, perverse, horrific and surreal study of grief and loss. The film is full of human horror, surrealism, symbolism and metaphor.
It is also filled in unassimilated sex and scenes of ultra-violent torture that are close to impossible to watch. And at the same time it is a paradoxically beautifully crafted film which attempts to tackle not only societal issues around misogyny but existential horrors of identity.
As always when it comes to Lars von Trier, it is hard to know when he is attempting to point out the "horror" of misogyny or somehow perversely playing into it. A perspective that is as impossible to fully assert or deny.
Extremely effective as a horror movie, which makes me let some of my more baffling questions about the characters and their actions slide. It makes use of some of some traditional horror tropes, but it's in almost a satiric way due to the serious tone of the film that's not necessarily traditional for most horror films with a plot like this one. The subtext and beautiful shot compositions elevate this film to an even greater level. Mostly gorgeous to look at (when it wasn't being disturbing to look at...)
"Did you want to kill me?"
Despite its title, there isn't much talk about religion on Antichrist.
The story follows a couple (Willem Dafoe and Von Trier's sweetheart Charlotte Gainsbourg) staying in a cabin in order to deal with the wife's recent depression since their child died. She (both characters have no name) was studying violence against women through history and starts believing her son's death was nature's punishment for her being a woman. The husband, a therapist, tries to help her but gets caught up on underlying madness surrounding the situation.
As usual, Von Trier tries (and succeeds) to shock the audience quite often on Antichrist. There are a lot of horror elements (cabin in the woods,…
Antichrist isn't a film with a plot, but a series of keywords. Grief, Despair and Pain: in that order. It's an anti-romance of some sort. I'm not entirely sure what Lars Von Trier was trying to say here.. probably many things at once. But what I do know is that Antichrist represents the deep, agonizing depression of the director himself. You can tell by the sometimes wonky camera work, jump-cuts, confusing nature of the story and the at times gruesome and disturbing segments of the film. Would I recommend this movie? No, not to anyone with a straightforward mind. But to those who like experimental film, i'd suggest you give it a watch.
Very creepy. Quite well done. Great music.
I had to think about this film for a couple of days...
I can't really say what I liked about it, it still feels like a dream (well, maybe a nightmare), very disturbing with its haunting atmosphere... it made me feel uneasy from the very beginning.
Both Charlotte Gainsbourg and Willem Dafoe gave extraordinary performances, I could not look away from the screen.
A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).