A grieving couple retreat 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.
A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits the town, she finds out that their support has a price. Yet her dangerous secret is never far away.
The story follows Jack, a highly intelligent serial killer, over the course of twelve years, and depicts the murders that really develop his inner madman.
Events over the course of one traumatic night in Paris unfold in reverse-chronological order as the beautiful Alex is brutally raped and beaten by a stranger in the underpass.
Director:
Gaspar Noé
Stars:
Monica Bellucci,
Vincent Cassel,
Albert Dupontel
An American drug dealer living in Tokyo is betrayed by his best friend and killed in a drug deal. His soul, observing the repercussions of his death, seeks resurrection.
Director:
Gaspar Noé
Stars:
Nathaniel Brown,
Paz de la Huerta,
Cyril Roy
Three teenagers live isolated, without leaving their house, because their over-protective parents say they can only leave when their dogtooth falls out.
Director:
Yorgos Lanthimos
Stars:
Christos Stergioglou,
Michele Valley,
Angeliki Papoulia
French dancers gather in a remote, empty school building to rehearse on a wintry night. The all-night celebration morphs into a hallucinatory nightmare when they learn their sangria is laced with LSD.
Director:
Gaspar Noé
Stars:
Sofia Boutella,
Romain Guillermic,
Souheila Yacoub
Steven, a charismatic surgeon, is forced to make an unthinkable sacrifice after his life starts to fall apart, when the behavior of a teenage boy he has taken under his wing turns sinister.
Director:
Yorgos Lanthimos
Stars:
Barry G. Bernson,
Herb Caillouet,
Bill Camp
A grieving couple retreat 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.
This movie received a special anti-award from the ecumenical jury at Cannes. The jury, which typically awards a film that promotes spiritual and humanist values, decided to award this film an anti-award for its seemingly misogynistic views. However, Lars von Trier did confirm in a later interview that he was not a misogynist, saying he loved women and understood Her better than Him. See more »
Goofs
When the baby falls from the window at the start of the film, we see him standing on the windowsill looking out onto the street before it cuts to him falling, looking into the house, as if he were to have turned 180 degrees in virtually no time at all. See more »
Quotes
He:
Acorns don't cry, you know that as well as I do. That's what fear is, thoughts distort reality. Not the other way around.
See more »
John Doe says in "Se7en": "Wanting people to pay attention, you can't just tap them on the shoulder. You have to hit them in the head with a sledgehammer." L. von Trier was tapping on the shoulder with "Dogville". He turns to a sledgehammer with "Antichrist". The problem is that when you have been hit by the extremities of his latest endeavor the most appropriate question you may want to ask seems to be suggested by the next line of the late detective Mills: "What makes you so special that people should pay attention?"
This movie doesn't strike as an overt emotional manipulation like "Dancer in the Dark" (the fact that the latter is really something that can be described in such a way was eventually admitted even by the director himself). The cinematography is stunning - in a good sense of the word. Several frames with Willem Dafoe's face will certainly enter the gallery of iconic images provided by modern cinema. Even the dedication to Tarkovsky was not vain. But von Trier is neither stupid/ talentless nor childish/egocentric - hopefully, at least - to the extent to actually consider making movies a kind of therapy, and the screening room his own private couch at a shrink's. So he is trying to bring in a meaning here after all. If so what is it?
What is that point he is trying to deliver? Human nature is far from being perfect? It's hardly new news. The aesthetic audacity and harshness of images in "Dogville" were fully justified by a consistency of its message, which they conveyed in a completely adequate way. As far as I can see, von Trier was talking then about the unbearable hypocrisy of our modern civilization and an inevitable catastrophe this civilization is heading for (while his account made I'm afraid a pretty accurate description of the actual situation). What does he have to add with this feature? Is it that all evil which falls upon people is intrinsically immanent in human nature? Having experienced or witnessed a critical amount of grief, pain and despair man comes to some point when even a concept of good, God, hope or whatever you call it is becoming virtually inconceivable? And after that chaos reigns? That to fight that man has to kill an evil in himself which he might love? But this fight is doomed anyway if a natural arena for it happens to be a world "issued by Satan"? It's a kindergarten philosophy. Some of these things may very well be true and correct, but to make all these daring assumptions and observations it's quite sufficient to have read a dozen of books or had just one good look around. There can be several more interpretations - some somewhat less coherent, some even more banal. What are justifications of all this excruciating imagery we encounter in "Antichrist" then? It's not quite clear.
So I should say that it is a bit surprising that the audience has happened to be so polarized. In fact, this movie is neither too good, nor too bad. And I might be missing something but I have a strong feeling that von Trier can be quite justly accused on this particular occasion of doing something he was quite wrongly accused of doing on some previous ones - of trying to compensate in a badly provocative manner a certain shallowness of his work and its half-baked message by the extremities of the way in which they are presented.
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John Doe says in "Se7en": "Wanting people to pay attention, you can't just tap them on the shoulder. You have to hit them in the head with a sledgehammer." L. von Trier was tapping on the shoulder with "Dogville". He turns to a sledgehammer with "Antichrist". The problem is that when you have been hit by the extremities of his latest endeavor the most appropriate question you may want to ask seems to be suggested by the next line of the late detective Mills: "What makes you so special that people should pay attention?"
This movie doesn't strike as an overt emotional manipulation like "Dancer in the Dark" (the fact that the latter is really something that can be described in such a way was eventually admitted even by the director himself). The cinematography is stunning - in a good sense of the word. Several frames with Willem Dafoe's face will certainly enter the gallery of iconic images provided by modern cinema. Even the dedication to Tarkovsky was not vain. But von Trier is neither stupid/ talentless nor childish/egocentric - hopefully, at least - to the extent to actually consider making movies a kind of therapy, and the screening room his own private couch at a shrink's. So he is trying to bring in a meaning here after all. If so what is it?
What is that point he is trying to deliver? Human nature is far from being perfect? It's hardly new news. The aesthetic audacity and harshness of images in "Dogville" were fully justified by a consistency of its message, which they conveyed in a completely adequate way. As far as I can see, von Trier was talking then about the unbearable hypocrisy of our modern civilization and an inevitable catastrophe this civilization is heading for (while his account made I'm afraid a pretty accurate description of the actual situation). What does he have to add with this feature? Is it that all evil which falls upon people is intrinsically immanent in human nature? Having experienced or witnessed a critical amount of grief, pain and despair man comes to some point when even a concept of good, God, hope or whatever you call it is becoming virtually inconceivable? And after that chaos reigns? That to fight that man has to kill an evil in himself which he might love? But this fight is doomed anyway if a natural arena for it happens to be a world "issued by Satan"? It's a kindergarten philosophy. Some of these things may very well be true and correct, but to make all these daring assumptions and observations it's quite sufficient to have read a dozen of books or had just one good look around. There can be several more interpretations - some somewhat less coherent, some even more banal. What are justifications of all this excruciating imagery we encounter in "Antichrist" then? It's not quite clear.
So I should say that it is a bit surprising that the audience has happened to be so polarized. In fact, this movie is neither too good, nor too bad. And I might be missing something but I have a strong feeling that von Trier can be quite justly accused on this particular occasion of doing something he was quite wrongly accused of doing on some previous ones - of trying to compensate in a badly provocative manner a certain shallowness of his work and its half-baked message by the extremities of the way in which they are presented.