A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
A couple lose their young son when he falls out of a window while they are having sex in another room. The mother's grief consigns her to hospital, but her therapist husband brings her home intent on treating her depression himself. To confront her fears they go to stay at their remote cabin in the woods, "Eden", where something untold happened the previous summer. Told in four chapters with a prologue and epilogue, the film details acts of lustful cruelty as the man and woman unfold the darker side of nature outside and within. Written by
Peter Brandt Nielsen
In 2007 Lars von Trier announced that he was suffering from a depression, and that it was possible that he never would be able to make another film. "I assume that 'Antichrist' will be my next film. But right now I don't know," he told the Danish newspaper 'Politiken'. During an early casting attempt, English actors who had come to Copenhagen had to be sent home, while Trier was crying because his poor condition did not allow him to meet them. See more »
In the end titles, George Frideric Handel's piece "Lascia ch'io pianga" is wrongly listed as "Laschia ch'io pianga". See more »
Following the death of their child, a therapist insists on helping his wife through her grief himself. She conceptualizes her anxiety as fear of the woods around their summer home and her husband, a proponent of hardcore exposure therapy, takes her there to face her fears. Once isolated at their cabin, however, her mental state rapidly deteriorates into acts of extreme physical and sexual violence.
Reminiscent of the dark, psychological studies of Ingmar Bergman and Roman Polanski, 'Antichrist' is an exceptionally well crafted film from a director working at the height of his powers. A sense of darkness and foreboding begins from the very first frame and is masterfully developed through almost dreamlike scenes of increasing dread to an unbearable last act of brutality, raising fascinating questions about the historical depiction of women as agents of the devil, from the Old Testament to Freudian psychoanalysis. Though the violence, whether physical or sexual, is extreme and graphic, it never once seems exploitation, but rather a natural manifestation of the deeply disturbed psychology of the character. Willem Defoe and Charlotte Gainsbourgh carry the entire film with breathtaking performances of startling naturalism, courage and conviction. A powerful, disturbing, beautiful achievement.
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