Lars von Trier - Denmark / Germany / France / Sweden / Italy / Poland 2009 - drama / fantasy / horror - 104min.
him (Willem Dafoe, amazing) and she (Charlotte Gainsbourg, Golden Palm at Cannes for best actress) copulate regardless of the son who, attracted by the snow flakes falling outside the window of her room, leaning up to fall on the road, dying. The shock is enormous, especially for women, subject to anxiety and panic were uncontrolled. The man, who is also a therapist, trying to cure it, guiding us into his subconscious in search of her deepest fears, to try to uproot them. It seems that there is a special place to scare her: Eden, a town forest where she had spent time with his son the previous summer, while he was working on a thesis about the persecution of women throughout history. The two then go to Eden in the hope that she recovers.
There are movies that are paradigmatic of the philosophy of the author (the most obvious example is Matchpoint Woody Allen), then there are others, representative of their thinking, both as their psychology as the structure of their cognitive processes, how they wish and the reality of how their creative process ( David Lynch's INLAND EMPIRE is all these things together ) and then there's Lars von Trier's Antichrist, who is both container elements mentioned above, is something different and opposite.
This film, one of the greatest masterpieces in the history of cinema, cinema is primarily a summation of the previous Danish director: there's his obsession with looking for a unique visual style and sound of perfect shooting time, provocation scopic and senses in general, fantastic allegorical tale disguised as a hyper-realistic story.
With a little more.
Already from the title, the film highlights the peculiarity of being a film against: against the director's previous film, against cinema in general, against Christ. Lars von Trier, the "Great masturbation of the screen," goes against everything and everyone, alone and desperate, with a confusing antifilm, disgusted, upset, shocked, devastated. Back from a deep depression, the director creates a film that leaves no escape from evil aberrant sports, and his previous films were usually sad and disconsolate, yet tinged with mocking irony ( The Kingdom - The Kingdom ) in a frown sardonic, opinionated ( Epidemic, Europa), a playfulness that touches the cold and sadism that made the director disliked by many in the audience (think of the ambiguity of a movie like "The Five Obstructions", or contempt shown for the human race in "The Boss"), or an open-ended change, the hope of the advent of a greater good (or at least equivalent) to the evil that was shown during the narration ( the Waves destiny). Antichrist is not none of this: it is not fun, do not have a happy ending, is not at all pleasant as vision, is indeed disturbing. The film, dedicated to Tarkovsky, seems to leave da tutto ciò che l'ha preceduta: è come se von Trier ringraziasse, ma dicesse no all'uso di schemi, forme e contenuti del cinema che è venuto prima di lui. Come al solito, questo atteggiamento ha spaccato in due critica e pubblico, suscitando critiche spietate da una parte e appassionati elogi dall'altra. E' il corrispettivo di ciò che accade in ambito scientifico quando viene proposta una teoria rivoluzionaria che incontra il favore degli studiosi più progressisti e l'astio di chi ha creduto e lavorato per anni (o per la vita) al modello ritenuto valido fino a quel momento. Questa presa di posizione, che espone il regista e la sua opera ad una pressione ed attenzione altissima, è conseguente al fatto che Antichrist sia l'incarnazione film of its creator: Lars von Trier is the Antichrist, the one who destroys, disrupts, shattering ideals and certainties to give us in exchange for pain, suffering and despair (Grief, Pain, Despair, the "three beggars" who have so much importance in the unfolding events recounted).
The world told by von Trier (and thus, in his view, our reality) is finally free of Christ, of any kind, good and merciful God. E'anzi a world hostile to man, starting from Nature, treacherous, wild, unmanageable, not to mention human nature, chaotic, nihilistic, destructive, and (therefore) self-destructive. This manifests itself in particular in the relationship between Man and Woman: Two opposites that attract without being able to be reconciled, even eroded one another, and not allowing the coexistence of both, one prevails over the other, and in particular the Man on Woman. "Let me weep over my cruel fate / And I long for freedom," reads the famous aria of Handel's Rinaldo, the soundtrack of the film.
But if the woman's fate is sealed, does not go much better for the Men's tortured, tortured and finally alone.
rich sequences masterful, unusual intensity and violence, beautifully played by two actors exceptional, marked by a memorable soundtrack and a photograph, Antichrist is simply an unmissable film, unbelievable and unforgettable.
Rating: 5 / 5
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