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Antichrist (2009)

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Antichrist (2009) Studio: SVT Director: Lars von Trier Release Date: October 23, 2009 Not Rated Review by Nick Schwab Lars von Trier’s Antichrist Is Not Misbegotten: A Defense and An Analysis The film Antichrist is the reason to why horror fans love the genre. Yet, it may also be the reason that so many others hate it. As the form has made headway in the last few decades, but it can still be considered the black sheep of the art world. Case in point the Lars von Trier movie Antichrist, a film maligned by many for being both misogynistic and with a bleak outlook on humanity, making one question if even alleged experts on cinema didn’t see that its thematic undercurrents are more-than-likely positive, despite the gory theatrics. One may question the film when taking it at face value, hell even the title of it does not exactly conjure up images of the happy-world-of-bunnies so to speak. However, one should think that if it was not for the violence (that arguably is the ‘horror’ element of any scary movie) would these same viewers and critics actually think of the piece as uplifting and even high art. Probably. Its presentation in the bulk of its first hour is often that of a drama, however arch it may be to some, Antichrist would easily get higher accolades if it did not wear its horror sleeve outright in its last block. If one cannot see the obvious comedy of the opening scene all hope may be lost from the onset. While William Dafoe plunges his huge cock into Charlotte Gainsbourg in provocative detail and with outrageous slow-mo the couple fails to notice their young toddler pull up a chair to a window and fly into death’s embrace. This outlandish scene sets the story up with its grief-stricken characters much like the Nicolas Roeg film Don’t Look Now does at its beginning. Yet, unlike that 1970’s film
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firmly planted in cheek, yet miraculously does not draw your emotions away from the harsh reality of these horrible situations. Antichrist’s dialogue may be stilted and overtly psychoanalytical, and its religious thematic undercurrents are too literal (in its defense Ingmar Bergman’s similar work is just as obvious.) Its hour-long buildup is about as tedious as the DMV, but it can also be argued that these scenes
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of serenity before the storm were necessary and realistic to the couples situation, even if it is not exactly that stimulating. Before the hour mark those not looking for obvious themes would probably hate the film. As at this early point Antichrist was pretentious and murky, turgid and dull. An artist’s themes should not often be announced
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too loudly. A movie should work on the emotional or entertaining level, but have an obvious heart underneath for those who are willing to dig deeper. Such fine but much too literal films such as Dead Man (1996) and much of Batman Begins are no more artistic than such shallow offerings as Pulp Fiction because they do not have the brains or the know how to shroud their themes, preferring to beat them into the audience’s skull. Thus they lack the entertaining and fun element
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that more mindless flicks offer. This is also why one may be befuddled at the mislabeling of Antichrist, since the bulk of its metaphors and analogies are very pronounced, and if looked at in an open minded outlook you will walk away from the film getting a lot out of it. When the catalyst for the themes in Antichrist comes into plain view it is also perhaps its most absurd and comical moment. At roughly this hour mark of the 108-minute runtime there is a scene in which a disemboweled forest fox says in a gravely deep voice the words, “Chaos Reigns:” this moment thus spearheads what is essentially the essence of its pointed literalization. Much of Antichrist’s backlash is being made about its
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obvious parallel to the biblical Adam and Eve and
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women (in this case the Gainsbourg character) being a sort of violent Satan-loving temptress. Some viewers are reading into it not as a study of grief and madness but as a struggle between a strong-willed man and a persecuted women as a medievalist misogynistic tale. Instead, it’s quite the contrary. While one can use typical but reasonable defenses like Antichrist is not anti-women, but anti men (due to the violence being against the man) or that in other alike movies such as Rosemary’s Baby the men were the source of evil, yet one should also realize that von Trier by using the biblical reference meant to question the role of women in a less faith/superstition based, more practical modern society that still arguably thinks of this sex as the weaker and more fragile species. Antichrist tells the viewer that if nature is perceived as evil then women who have the power to give life is also evil. Yet, in the end, women (life) will prevail. Thus by turning the female into a grief-stricken predator, the director actually humanizes this unjust
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persecution by telling us that if the balance of the good (humanistic emotion) with the evil (the vengeance-seeking and emotionless Antichrist ) will always be anarchical (“Chaos Reigns”) if one does not conquer the injustice in the world (such as sexism) by opening up their heart to empathetic emotion (realistic grief over the child’s death instead of anger and indifference,)
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