Antichrist

It is quite likely that if you have heard about Antichrist, you’re heard the word “controversial” flitting about also. This comes as no surprise, as any film directed by Lars Von Trier is going to encompass difficult subject matter- and from a career that has shown us the dark and depressing Dancer in the Dark, the minimalistic stage-like Dogville, and the ludicrous offerings of The Idiots, the movie going public would no doubt be disappointed if his latest instalment proved to be straightforward. Luckily then, instead of going for a safer option, Von Trier delivers a film that has been labelled as being so controversial, that it questions what exactly art is, and where the borderlines are. Apparently, this has overstepped the mark.

The film is worth watching for the opening prologue sequence alone, which is quite possibly one of the most beautifully crafted that is there to be seen- an amazing black and white, slow motion, juxtaposition between a passionate (and visual) sex scene between a married couple, and the innocence of a young inquisitive child, escaping from the confines of his cot and exploring the house and the freedom that it brings, culminating in a fall and death of the child during the couples climax. All of this is overlaid, fittingly, by a Tuve Semmingsen rendition of “Lascia Ch’io Pianga”, an aria from Handel’s opera Rinaldo. It’s fair to say that if this isn’t art, then real cinema is truly lost.

The film picks up from this point and tells the story of the unnamed characters, accredited as “He”(Willem Dafoe) and “She” (Charlotte Gainsbourg), as they struggle to deal with their own relationship and their feelings after the death of their son. Luckily, He is a therapist, and attempts to guide She through the five stages of grief, which are outlined explicitly herself. Having established that She has an underlying fear that needs to be overcome, they both set off to the forest of Eden, where the real treatment can begin. And along with it, the utter confusion that Von Trier produces.

Beyond this point, the story becomes convoluted, and not revealed explicitly. Questions remain throughout as to the source of the violence that ensues, and it could even be said that given a slight plot twist regarding the unsuitability of She as a parental figure, the death of the son could in fact have been as a result of a physical developmental issue as a result of her neglect. However, that is probably far too grounded in reality, as the touch of mysticism that lingers in the background rears its ugly head to completely demolish the harsh reality that Von Trier had built up in the first half of the film.

It is within this harsh reality that the director excels in his attempts at creating a horror scenario. The extensive forest is devoid of human activity, with an endless supply of dark trees looming large over the miniscule humans. Couple that with seemingly violent acorn showers at night and some powerful wildlife visuals (such as the failed birth of a young fawn), achieves a sense of helplessness. As this continues, the tension build and we expect horror to ensue. This also contributes to the shock value of the violence that we see. Not least because of genetalia mutilation, but also the lack of a build up from a low level of violence to the extreme, we are effectively thrown into the deep end unannounced when the inevitable occurs.

It would be wrong to write a review without mentioning both Dafoe and Gainsborough, who are exceptional. Both produce strong, emotional, believable performances, and this never slips throughout. Their unorthodox relationship truly carries the film, although it is a pity that for all the good work they put in, and Von Trier also, the flaws take too much away from the film. Shoddy editing breaks the involvement that the audience has in the film, taking you away from the experience. It also feels as though the premise for Antichrist is one that should have been grounded in the real world, and stayed there, as opposed to veering off towards witchcraft, satanic interventions and a talking fox. This does a lot of damage to the tension and authenticity of the world created by Lars Von Trier, not to mention the grim reality of a psychotic horror showing.

Without a doubt this could have been a classic and remembered for all the right reasons with tighter editing and a more believable series of events. Unfortunately Von Trier let himself down by delving too deep into a storyline that also wasn’t explained enough, which following the opening half of the film is very disappointing.

Rating:
3/5