Word: antichrists
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...Technical Prize at Cannes - and after showing Europa/Zentropa (Jury Prize, or third place) in 1991, Breaking the Waves (Grand Jury Prize, or second place) in 1996, and Dancer in the Dark (finally, the Palme d'Or) in 2000 - von Trier presents his eighth film in the competition. Antichrist is both his most familiar film - a horror film of a soul gone mad, as in Psycho and The Shining - and one of his most transgressive, which is reviewer's jargon for gross-out gruesome...
...fans of a mainstream sell-out; it "makes it seem, quite shockingly, like an uninspired piece of genre hackwork," wrote Xan Brooks on the Guardian blog. "Surely, that can't possibly be true." It's not. As von Trier has said in an interview with Knud Romer, he wrote Antichrist when he was bedridden by depression, and "I let the film flow to me instead of thinking it up... And because some of the material comes from my youth, it may be unreasonable, ecstatic." If even von Trier calls his film unreasonable, you can be sure it's not ordinary...
...Weird Witchcraft Antichrist begins in domestic rapture. In pristine black-and-white images rendered in slo-mo, and to a soprano's lofty rendition of Handel's Lascia ch'io pianga ("Leave me to weep over my cruel fate"), a couple makes love on a snowy evening. In another room the washing machine churns. In a third, the couple's son Nic escapes his crib to, and goes to a window ledge where he teeters, then falls to his death. The sex act, Nic's life and the wash conclude simultaneously. The child's last moment has a beauty...
...first half of Antichrist has enough storytelling vigor and sheen convince any critic, including those who thought von Trier went off the rails with his Dogville and Manderlay epics, that, hey, the guy can make a normal movie, and with the highest skill. There are visions here worth savoring, pure von Trier weirdo-magic, like the sight of Gainsbourg lying on the forest ground, willing herself to blend with the green. Through simple grace notes - photos from the previous summer of the boy's shoes put on the wrong feet, and, in one of several allusions to The Shining...
...when Antichrist moves defiantly out of the land of Hitchcock's Psycho and into Saw territory that it lost most of its audience Sunday night. There were scenes - the woman's attack on her husband's sex organs, then her mutilation of her own - where you could hear "Oh, come on!" muttered in several languages. There's nothing wrong with a movie going crazy along with its characters, as we noted in our Thirst review two days ago, but von Trier doesn't have the craft to bring the moviegoer along in the most extreme parts of Antichrist. The thought...