Originally published at PassionforCinema.
Antichrist, 2009, 104 min
Written and Directed by Lars von Trier
Muriel Award-Winning Cinematography by Anthony Dod Mantle
Story (taken from IMDb): A grieving couple (Willem Dafoe and Charlotte Gainsbourg) retreats to their cabin in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse.
I started watching Antichrist with no expectations whatsoever about quality; I’d read that it was a beautiful movie, I’d read that it was a piece of tasteless porn, and I’d also read that it was nothing worth our time. The only expectation I had was that it would be sickeningly violent. Antichrist’s success, for me, lies in the fact that it belied all of the aforementioned opinions.
I’m convinced that my age had something to do with this. Being only eighteen, there are some aspects of the human experience that are yet beyond me, and probably this movie taps into some deep fears in that part, making the movie horrific – not too much of a wonder, it’s almost sitcommy how much the woman distrusts the man – rather than just plain dreadful like it was for me; I was thinking don’t do it but there was nothing like look away. If you actually count the acts of violence, there is a sum total of three, and only one of them is as horrific as some critics would have us believe.
To do with sitcoms, I’m actually beginning to see a deeper parallel now. If you’ve ever watched a sitcom, you’ll know that they are almost misogynistic in their portrayal of urban women as neurotic little upstarts out to rule the sensible even if flawed men. You’ll find the parallel to have a true enough ring if you ever watch the movie.
In fact, in that way, it’s also the opposite of noir. A sort of reverse noir, if you will. Noir is about men who don’t understand, and therefore trust, the world around them, a distrust the cherry on top of which is that of women – specifically, that of the femme fatale. Antichrist, in contrast, is about the woman’s distrust of a man who more than adequately understands her, but whom she has no capacity to understand.
If noir is from the point of view of the men, Antichrist is – as much as this movie can be said to have a point of view – from the point of view of the woman. The whole movie, Willem Dafoe’s man is distant and clinical, a two-dimensional piece. Poor Dafoe has little to do, but rarely has little been done this well. Charlotte Gainsbourg, by contrast, got a role complex enough to win a completely deserved 2009 Muriel Award for her portrayal of the woman.
But all that’s sideline. The real point of this movie is the death of humanity, the death of humanity by distrust, of others too but primarily of oneself. I said that the woman doesn’t understand the man. The truth is that she, more importantly, doesn’t have the slightest clue about herself either, just like the men in noir. That’s why the movie progresses the way it does; it’s the chronicle of a woman who has completely lost trust in herself.
That’s why it’s called Antichrist; these two are to the Antichrist as Adam and Eve are to the Christ. Adam and Eve (symbolically) begun humanity; these two (symbolically) end it.
Adam and Eve have no history. These two are completely history; he’s American, she’s English, suggesting a history of metaphorical colonisation and breaking free.
But that’s still not the most profoundly disturbing thing about the movie. That would be the fact that it tries to disguise itself under the form of a horror movie. A train journey flashes images of cruelty, most of the music is the tail end of a gong, the house in Eden is continuously bombarded by acorns, ears of corn spontaneously grow on the man’s hand … the list could go on. But the fact is that all this eeriness is but a sheer veneer, a cover for the real melancholy only allowed to come to fruition in the prologue and epilogue.
If there’s a problem with the movie, it’s that it fails to attain beauty. The meaning feels tacked on; it differentiates itself from reverse noir in only the name, two shots and an epilogue. Which is a pity, because here we have a movie that spells out for us what’s going to come to pass during the climax and then completely blindsides us after. Good enough, but not perfect like it would be if the blindside grew out of the movie.