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WHAT MAKES IT WEIRD: Though the graphic torture-porn (and plain old-fashioned porn) elements have stolen the headlines and alienated viewers, at bottom this is von Trier’s spookiest and most mysterious film, a trip deep into the heart of darkness, and one the viewer may have as difficult a time returning home from intact as the characters do. The camera slowly pulls back to reveal a number of disembodied human hands sticking out at various places from between the oak limbs. For an image with a power to make us do more than squirm, we turn to the scene where He and She are copulating in the woods, with her head resting on a bed of roots from a massive oak tree. However indelibly gruesome this scene may be, however, it comes out of von Trier’s shock toolbox rather than from his weird shed. INDELIBLE IMAGE: Without doubt, the searing image is of the encounter between Charlotte Gainsbourg’s intimate prosthetic and a pair of rusty scissors. The film received a special “anti-humanitarian” prize from the ecumenical jury (a Cannes sub-jury with a Christian focus), who called Antichrist “the most misogynist movie from the self-proclaimed biggest director in the world.”
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The therapy He employs in the film is called “exposure therapy” (where an anxiety-ridden patient is gradually exposed to the source of their irrational fear) von Trier had undergone this treatment for his own anxiety problems, and thought little of the practice.
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In the title card and much of the promotional art, the “t” in “antichrist” is suggested by a figure combining the Christian cross and the symbol for “woman.”.Von Trier was still depressed at the time of screening and sometimes had to excuse himself from the set. Von Trier says that he was suffering from extreme depression when he made Antichrist and that working on the script and the film was a form of self-therapy.When He discovers the root of She’s anxiety and irrational fears centers around a woodland retreat they call Eden, He forces her to go there to face her fears but when they arrive, nature itself seems determined to drive them both mad. She falls into inconsolable grief, and He, a therapist, unwisely decides to take her under his personal care. PLOT: He and She (the characters are nameless) are making love when their child tumbles to his death out of a window.
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“If Ingmar Bergman had committed suicide, gone to hell, and come back to earth to direct an exploitation/art film for drive-ins, is the movie he would have made.”– John Waters, “Artforum Magazine”įEATURING: William Dafoe, Charlotte Gainsbourg 366 Weird Movies may earn commissions from purchases made through product links.