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    Antichrist 2009

    Review of: Antichrist 2009

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    On 14.11.2019
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    Antichrist 2009

    Antichrist ein Film von Lars von Trier mit Willem Dafoe, Charlotte Gainsbourg. Inhaltsangabe: Während Sie (Charlotte Gainsbourg) und Er. Charlotte Gainsbourg und Willem Dafoe ziehen sich als trauerndes Paar in Lars von Triers Skandalfilm Antichrist in die Einsamkeit des Waldes zurück. Dort. Antichrist. Ein namenloses Paar – er Psychotherapeut, sie Hausfrau – will den tragischen Unfalltod seines kleinen Sohnes verarbeiten, indem es eine Auszeit in​.

    Antichrist 2009 Darsteller und Crew

    Nach dem Unfalltod ihres Kindes beschließt ein Ehepaar, sich für eine Weile in eine abgelegene Waldhütte zurückzuziehen. Dort hofft es, abgeschnitten von der Außenwelt, seine Trauer zu überwinden und die kriselnde Ehe retten zu können. Doch das. Antichrist (Film) – Wikipedia. gware.eu - Kaufen Sie Anticristo (Antichrist) ()(Import Edition) günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen. Charlotte Gainsbourg und Willem Dafoe ziehen sich als trauerndes Paar in Lars von Triers Skandalfilm Antichrist in die Einsamkeit des Waldes zurück. Dort. Antichrist. Ein namenloses Paar – er Psychotherapeut, sie Hausfrau – will den tragischen Unfalltod seines kleinen Sohnes verarbeiten, indem es eine Auszeit in​. Antichrist ein Film von Lars von Trier mit Willem Dafoe, Charlotte Gainsbourg. Inhaltsangabe: Während Sie (Charlotte Gainsbourg) und Er. Antichrist: Drama/Psychodrama von Meta Louise Foldager mit Charlotte Gainsbourg/Willem Dafoe. Jetzt im Kino.

    Antichrist 2009

    Antichrist ein Film von Lars von Trier mit Willem Dafoe, Charlotte Gainsbourg. Inhaltsangabe: Während Sie (Charlotte Gainsbourg) und Er. Antichrist. Ein namenloses Paar – er Psychotherapeut, sie Hausfrau – will den tragischen Unfalltod seines kleinen Sohnes verarbeiten, indem es eine Auszeit in​. Charlotte Gainsbourg und Willem Dafoe ziehen sich als trauerndes Paar in Lars von Triers Skandalfilm Antichrist in die Einsamkeit des Waldes zurück. Dort. By opting to have your ticket verified Lego Eiskönigin this movie, you are allowing us to check the email Mediathek Stern Tv associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the Tb Now movie. We had no problems whatsoever. The Walking Dead: Season From Wikipedia, the free encyclopedia. Release date. Antichrist 2009

    Book-ended by a masterfully conceived prologue and epilogue and split into four focal chapters entitled "Grief", "Pain", "Despair" and "The Three Beggars" don't ask , the film takes on a ghostlike tone from the outset as the boundaries between the real and surreal become blurred.

    Alas, things get weird, edgy and very, very nasty. The sheer mass and rate of dense motifs and metaphors at hand regarding sex, Freud, the devil and the soul is a little overwhelming.

    Not to mention the force and intensity of both Dafoe and Gainsbourg's turns in addition to the film's strong, emotional undercurrent. In spite of large and sustained periods of quite brilliant film-making, Antichrist contains some of the most violent and deplorable images ever committed to celluloid.

    For the ladies there's self mutilation. Remember- sometimes in cinema, you fear what you don't understand, especially when the camera is an unflinching eye inside the head of a disturbed, Danish poet.

    Lars Von Trier is an excellent filmmaker, but even his biggest fans will find it hard to swallow this, never mind stomach it.

    Dedicated to the memory of legendary soviet filmmaker Andrei Tarkovsky, Antichrist is truly as haunting, delicate and poetic a film as you're ever bound to see.

    Though shrouded in scenes of unspeakable cruelty, the film eludes to the work of Tarkovsky in a big way: Von Trier's warped Adam and Eve parable is a moody, metaphysical affair cloaked in hypnotic, dreamlike imagery that calls to mind the likes of Mirror, Solaris and the brilliant Stalker.

    The trancelike photography; sound, score, and editing demonstrate a predilection for atmospheric, art-theatre sensibility. Tarkovsky would have loved it.

    This, after all, is a film that simply has to be seen to be believed. Not necessarily for its aesthetic grandeur, gore or technique, but for its harrowing portrayal of a soul in torment.

    What's it all about? Who cares?! Antichrist is an unusual, atmospheric horror film that's guaranteed to provoke. The performances are honest and strong, the aesthetics are bold, the direction is brilliant and the outcome is something that is ultimately hard to come by these days: authentic film-making.

    Jack Harding. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show.

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    Antichrist Critics Consensus Gruesome, explicit and highly controversial; Lars Von Triers arthouse-horror, though beautifully shot, is no easy ride.

    See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie?

    Step 2 of 2 How did you buy your ticket? Let's get your review verified. Fandango AMCTheatres. More Info.

    Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

    How did you buy your ticket? View All Photos Movie Info. While a married couple Willem Dafoe, Charlotte Gainsbourg is having sex, their infant son in a nearby room falls out a window to his death.

    She becomes distraught and is hospitalized, but her husband, who is a psychiatrist, attempts to treat her. Deciding that she needs to face her fears, he takes her to a cabin in the woods where she spent a previous summer with the boy.

    Once they are there, she becomes more unhinged and starts perpetrating sexual violence on her husband and herself.

    Lars von Trier. Meta Louise Foldager. Dec 4, Zentropa Entertainments, Lucky Red. Willem Dafoe He. Charlotte Gainsbourg She.

    Lars von Trier Director. Lars von Trier Screenwriter. Meta Louise Foldager Producer. Peter Garde Executive Producer.

    Anthony Dod Mantle Cinematographer. Anders Refn Film Editor. Victoria Beattie Casting. Antoinette Boulat Casting.

    Ban Them All! January 23, Full Review…. August 6, Full Review…. June 25, Full Review…. View All Critic Reviews Jun 22, Script deals with a couple trying to cope with the loss of a child.

    The only reason anyone would want to watch this one is for the shot of full sex penetration at the very beginning as Willem Dafoe is banging in the shower.

    Toward the end, Gainsbourg hits Dafoe with an object right in the junk and then jacks him off until blood comes out. She then walks around with no pants on and cuts off her own clitoris with scissors.

    Seriously, this one is just plain bad and should be avoided. Patrick W Super Reviewer. Sep 27, Lars von Trier is a talented and imaginative director.

    I find his films interesting, but never exactly "like" them. Antichrist is not so much horrifying as alternatively interesting and repugnant.

    The graphic bits feel out-of-place and in bad taste; it is as if the film is saying: "Now be horrified! Cannot recommend the film to anyone.

    Horror fans will not find the film scary. Art-house fans will probably be put off. Robert B Super Reviewer. May 10, For those who felt that Lars von Trier stood to show you more of Willem Dafoe in "Manderlay", fear not, for this film shows you more than you would care to see of Dafoe.

    Yes, I'm aware that Dafoe is working with doubles and prosthetics, but certain things portrayed in this film aren't exactly what you'd like to associate with people as weird-looking as Willem Dafoe and Charlotte Gainsbourg, as surely as there are certain things portrayed here that aren't exactly what you'd like to associate with any poor sucker.

    I like how, with this film, von Trier says, "Forget it", and goes all-out with disturbing material, to the point of giving this film the title "Antichrist" and having it star someone who played Christ.

    Well, "The Last Temptation of Christ" was never what you'd look to for a comfortingly respectful portrayal of Jesus, so it appears to be Dafoe's thing to star in unsettling spiritual films.

    If nothing else, saw him get quite the obsession with showing up in films for the art crowd that featured foxes, which isn't to say that the families who saw "The Fantastic Mr.

    Fox" should rush out to see a fox eviscerate itself and growl out, "Chaos reigns! Like I said, this film is messed up, and that isn't even the most disturbing thing here, although that might simply be because it's kind of cool seeing that effect reflect that von Trier can, in fact, work with a budget.

    There are plenty of disturbing effects being used to disturbing effect, but when it's all said and done, at least the film is good, even though certain visuals aren't the only unsettling things about it.

    Considering that this is a Lars von Trier film, it's easy to expect that it will be ethereal, but this is one of, if not von Trier's most ethereal efforts, and his thoughtfulness is so artistically realized that the final product generally proves to be adequately entertaining, or at least resonant enough to compensate for slowness, yet there are times in which von Trier's quiet intensity gets to be more dully dry than anything, often something fierce, and such moments seem to thrive on lapses in material for von Trier to draw upon with his thoughtfulness.

    Quite honestly, there are number of these lapses, for although the film runs a relatively mere minutes, it drags to that point, its momentum retarded by a script by von Trier which goes bloated with filler, if anything at all, until the minimalist drama slips into aimlessness that makes the cold spells all the blander, until punctuated with a touch too much intensity.

    The film is unrated, and you'd be very much justified in expressing concern that the filmmakers simply didn't bother securing an opinion from the MPAA, as this is pretty decidedly an NC film that breaks boundaries and goes as far as it can with its content, and not just sexual, incorporating several deeply disturbing visuals that are often treated with enough thematic taste to be effective, and just as often gratuitous contradictions of taste that momentarily render the drama too trashy to be artistic, or even resonant.

    Of course, when the film isn't trying too hard to disturb, it's trying too hard to resonate, because in addition to possibly being von Trier's most ethereal film, the drama is possibly von Trier's most bleak film, which is saying a lot, thus rendering the final product consistently and perhaps punishingly hopeless, in a manner that is handled well enough to compel pretty thoroughly, but is often too challenging to be effective, at least when the drama loses substance to feed genuine resonance.

    I've already said that the film is a highly ethereal drama, but the artistic license taken to storytelling by no means expires there, as von Trier is very experimental in the way he meditatively tells this tale, and while such experimentation is generally comfortable, there are times in which von Trier becomes more focused on thematic visuals over genuine human characterization that perhaps could have sold the themes of the film better.

    Von Trier tries so hard and does so well in so many ways, crafting a biting art film that could have lost its resonance and purpose in the midst of artistic ambition, which still has a tendency to rear its ugly head into things time and again, backed by questionable pacing and visuals that threaten the reward value of the final product.

    Of course, at the end of the day, the film is realized enough in its sometimes problematic artistry to grip as a bitingly bleak drama and haunting celebration of modern technical artistry.

    The film is graphic and bleak, but make no mistake at all, it is beautiful, and for that, a lot of credit is due to Anthony Dod Mantle, whose cinematography is subtly, but surely, breathtaking, with a crisp definition backing a deep emphasis on subtle lighting wrapped in heavy shadows, a formula which makes the darker visuals gritty in a way that is handsomely fitting for a bleak atmosphere, while making the slightly lighter visuals dreamy.

    There's a lot of solid technical value to this film, but it's at its most realized with the cinematography, whose beauty has to be seen in order to be believed as aesthetically remarkable by its own right, as well as complimentary to substance that wouldn't thrive on style so thoroughly without inspiration on Lars von Trier's part.

    I've said it time and again, but von Trier delivers a directorial performance that is as stylized and ethereal as ever with this film, and were he to lose his grip, the whole final product would have collapsed as misguided, although that's not what happens, because even though von Trier does, in fact, get carried away with his artistic license, to the point of threatening entertainment value and a sense of substance, lyrical artistry is milked for all its worth by plays on trippy visuals and sounds that immerse as near-psychedelically haunting, while plays on Kristian Eidnes Andersen's interestingly avant-garde score, if not the piercing sound of silence itself, prove to be emotionally penetrating.

    More often than not, the film is captivating as dark art, biting as a thriller, resonant as a drama, and altogether genuinely original, and it wouldn't be all of this if it wasn't for von Trier continuing to showcase an imperfect, but generally solid grip on artistic directorial storytelling that is effective enough to compel pretty thoroughly, though not without the help of worthy material to work with.

    The film's subject matter, alone, is challenging, and it's not as though it's all that dynamic, but the film wouldn't compel through all of its questionable elements if the story concept wasn't meaty on the whole, backing a brutal psycho-drama narrative with thought-provoking themes on natural evils within humans and even nature itself, and being brought to life by a script by von Trier that, while uneven in its pace and style, has a subtlety to many of its set pieces that is intriguing, and a subtlety to its characterization that overcomes potential underdevelopment in order to craft leads who are thematically worthy and intriguing by their own right.

    Of course, in all fairness, the human elements of this drama are best solid by the lead performers, because as much as I praise von Trier for his efforts, the most consistently strong element of this film is the acting, with Willem Dafoe being convincing as an intellectual who struggles to conceal emotions that eventually come into play in the form of sheer, overwhelming fear, while Charlotte Gainsbourg, through an audacious dramatic range and disturbed presence, sells a woman's gradual collapse from emotional instability to mental instability.

    The film is very intimate with its leads, therefore Dafoe and Gainsbourg deliver as major driving forces for this drama, but they don't compel alone, as von Trier's offscreen performance is itself effective enough to compel with artistic and dramatic resonance that endears through all of the challenges as rewarding.

    When the horror is lifted, reward value finds itself threatened by moments of dull dryness and repetitious dragging, as well as by some overt disturbances, bleakness and placement of style over substance, but ultimately secured by the captivating visual style, artistically and dramatically haunting directorial style, intriguing subject matter, subtle writing, and powerful acting - courtesy of Willem Dafoe and Charlotte Gainsbourg - that make Lars von Trier's "Antichrist" chilling, thought-provoking and altogether gripping as a triumph in dark artistic filmmaking and a worthy challenge in bleak dramatic storytelling.

    Cameron J Super Reviewer. Feb 25, Lars Von Trier is a unique filmmaker that has a style that I would describe as eccentric, haunting, yet somewhat beautiful.

    With Antichrist he crafts a film that is horrifying and unforgettable. The cast here is impeccable and Trier's choices are terrific.

    Willem Dafoe and actress Charlotte Gainsberg deliver great performances here, and the story itself takes its time to unfold, with steady pacing, which is key in telling an effective story.

    Antichrist may not be a film for everyone, but those who enjoy Art films; well this is a film worth seeing. Antichrist is a tense, horror film with the art house flair, and Lars Von Trier delivers an unflinching.

    Raw in your face picture that has a powerful sense of visuals. Trier always seems to go for an unsettling way in telling a story, and he more than accomplishes that with this horror drama.

    Considering that Antichrist comprises of such a minimal cast of actors, I founds the film to be accomplished piece of cinema.

    If you have varied taste in cinema, then Antichrist might suit your palette. The content expressed on film is disturbing, and unforgettable, but that's what makes it resonate with the viewer.

    Antichrist seeks to disturb and succeeds in doing so. The film has its flaws, but as a piece of horror filmmaking it does succeed at capturing genre elements through Trier's camera lens.

    See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten.

    What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified.

    Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

    How did you buy your ticket? View All Photos Movie Info. While a married couple Willem Dafoe, Charlotte Gainsbourg is having sex, their infant son in a nearby room falls out a window to his death.

    She becomes distraught and is hospitalized, but her husband, who is a psychiatrist, attempts to treat her. Deciding that she needs to face her fears, he takes her to a cabin in the woods where she spent a previous summer with the boy.

    Once they are there, she becomes more unhinged and starts perpetrating sexual violence on her husband and herself.

    Lars von Trier. Meta Louise Foldager. Dec 4, Zentropa Entertainments, Lucky Red. Willem Dafoe He.

    Charlotte Gainsbourg She. Lars von Trier Director. Lars von Trier Screenwriter. Meta Louise Foldager Producer.

    Peter Garde Executive Producer. Anthony Dod Mantle Cinematographer. Anders Refn Film Editor. Victoria Beattie Casting. Antoinette Boulat Casting.

    Ban Them All! January 23, Full Review…. August 6, Full Review…. June 25, Full Review…. View All Critic Reviews Jun 22, Script deals with a couple trying to cope with the loss of a child.

    The only reason anyone would want to watch this one is for the shot of full sex penetration at the very beginning as Willem Dafoe is banging in the shower.

    Toward the end, Gainsbourg hits Dafoe with an object right in the junk and then jacks him off until blood comes out. She then walks around with no pants on and cuts off her own clitoris with scissors.

    Seriously, this one is just plain bad and should be avoided. Patrick W Super Reviewer. Sep 27, Lars von Trier is a talented and imaginative director.

    I find his films interesting, but never exactly "like" them. Antichrist is not so much horrifying as alternatively interesting and repugnant.

    The graphic bits feel out-of-place and in bad taste; it is as if the film is saying: "Now be horrified! Cannot recommend the film to anyone.

    Horror fans will not find the film scary. Art-house fans will probably be put off. Robert B Super Reviewer. May 10, For those who felt that Lars von Trier stood to show you more of Willem Dafoe in "Manderlay", fear not, for this film shows you more than you would care to see of Dafoe.

    Yes, I'm aware that Dafoe is working with doubles and prosthetics, but certain things portrayed in this film aren't exactly what you'd like to associate with people as weird-looking as Willem Dafoe and Charlotte Gainsbourg, as surely as there are certain things portrayed here that aren't exactly what you'd like to associate with any poor sucker.

    I like how, with this film, von Trier says, "Forget it", and goes all-out with disturbing material, to the point of giving this film the title "Antichrist" and having it star someone who played Christ.

    Well, "The Last Temptation of Christ" was never what you'd look to for a comfortingly respectful portrayal of Jesus, so it appears to be Dafoe's thing to star in unsettling spiritual films.

    If nothing else, saw him get quite the obsession with showing up in films for the art crowd that featured foxes, which isn't to say that the families who saw "The Fantastic Mr.

    Fox" should rush out to see a fox eviscerate itself and growl out, "Chaos reigns! Like I said, this film is messed up, and that isn't even the most disturbing thing here, although that might simply be because it's kind of cool seeing that effect reflect that von Trier can, in fact, work with a budget.

    There are plenty of disturbing effects being used to disturbing effect, but when it's all said and done, at least the film is good, even though certain visuals aren't the only unsettling things about it.

    Considering that this is a Lars von Trier film, it's easy to expect that it will be ethereal, but this is one of, if not von Trier's most ethereal efforts, and his thoughtfulness is so artistically realized that the final product generally proves to be adequately entertaining, or at least resonant enough to compensate for slowness, yet there are times in which von Trier's quiet intensity gets to be more dully dry than anything, often something fierce, and such moments seem to thrive on lapses in material for von Trier to draw upon with his thoughtfulness.

    Quite honestly, there are number of these lapses, for although the film runs a relatively mere minutes, it drags to that point, its momentum retarded by a script by von Trier which goes bloated with filler, if anything at all, until the minimalist drama slips into aimlessness that makes the cold spells all the blander, until punctuated with a touch too much intensity.

    The film is unrated, and you'd be very much justified in expressing concern that the filmmakers simply didn't bother securing an opinion from the MPAA, as this is pretty decidedly an NC film that breaks boundaries and goes as far as it can with its content, and not just sexual, incorporating several deeply disturbing visuals that are often treated with enough thematic taste to be effective, and just as often gratuitous contradictions of taste that momentarily render the drama too trashy to be artistic, or even resonant.

    Of course, when the film isn't trying too hard to disturb, it's trying too hard to resonate, because in addition to possibly being von Trier's most ethereal film, the drama is possibly von Trier's most bleak film, which is saying a lot, thus rendering the final product consistently and perhaps punishingly hopeless, in a manner that is handled well enough to compel pretty thoroughly, but is often too challenging to be effective, at least when the drama loses substance to feed genuine resonance.

    I've already said that the film is a highly ethereal drama, but the artistic license taken to storytelling by no means expires there, as von Trier is very experimental in the way he meditatively tells this tale, and while such experimentation is generally comfortable, there are times in which von Trier becomes more focused on thematic visuals over genuine human characterization that perhaps could have sold the themes of the film better.

    Von Trier tries so hard and does so well in so many ways, crafting a biting art film that could have lost its resonance and purpose in the midst of artistic ambition, which still has a tendency to rear its ugly head into things time and again, backed by questionable pacing and visuals that threaten the reward value of the final product.

    Of course, at the end of the day, the film is realized enough in its sometimes problematic artistry to grip as a bitingly bleak drama and haunting celebration of modern technical artistry.

    The film is graphic and bleak, but make no mistake at all, it is beautiful, and for that, a lot of credit is due to Anthony Dod Mantle, whose cinematography is subtly, but surely, breathtaking, with a crisp definition backing a deep emphasis on subtle lighting wrapped in heavy shadows, a formula which makes the darker visuals gritty in a way that is handsomely fitting for a bleak atmosphere, while making the slightly lighter visuals dreamy.

    There's a lot of solid technical value to this film, but it's at its most realized with the cinematography, whose beauty has to be seen in order to be believed as aesthetically remarkable by its own right, as well as complimentary to substance that wouldn't thrive on style so thoroughly without inspiration on Lars von Trier's part.

    I've said it time and again, but von Trier delivers a directorial performance that is as stylized and ethereal as ever with this film, and were he to lose his grip, the whole final product would have collapsed as misguided, although that's not what happens, because even though von Trier does, in fact, get carried away with his artistic license, to the point of threatening entertainment value and a sense of substance, lyrical artistry is milked for all its worth by plays on trippy visuals and sounds that immerse as near-psychedelically haunting, while plays on Kristian Eidnes Andersen's interestingly avant-garde score, if not the piercing sound of silence itself, prove to be emotionally penetrating.

    More often than not, the film is captivating as dark art, biting as a thriller, resonant as a drama, and altogether genuinely original, and it wouldn't be all of this if it wasn't for von Trier continuing to showcase an imperfect, but generally solid grip on artistic directorial storytelling that is effective enough to compel pretty thoroughly, though not without the help of worthy material to work with.

    The film's subject matter, alone, is challenging, and it's not as though it's all that dynamic, but the film wouldn't compel through all of its questionable elements if the story concept wasn't meaty on the whole, backing a brutal psycho-drama narrative with thought-provoking themes on natural evils within humans and even nature itself, and being brought to life by a script by von Trier that, while uneven in its pace and style, has a subtlety to many of its set pieces that is intriguing, and a subtlety to its characterization that overcomes potential underdevelopment in order to craft leads who are thematically worthy and intriguing by their own right.

    Of course, in all fairness, the human elements of this drama are best solid by the lead performers, because as much as I praise von Trier for his efforts, the most consistently strong element of this film is the acting, with Willem Dafoe being convincing as an intellectual who struggles to conceal emotions that eventually come into play in the form of sheer, overwhelming fear, while Charlotte Gainsbourg, through an audacious dramatic range and disturbed presence, sells a woman's gradual collapse from emotional instability to mental instability.

    The film is very intimate with its leads, therefore Dafoe and Gainsbourg deliver as major driving forces for this drama, but they don't compel alone, as von Trier's offscreen performance is itself effective enough to compel with artistic and dramatic resonance that endears through all of the challenges as rewarding.

    When the horror is lifted, reward value finds itself threatened by moments of dull dryness and repetitious dragging, as well as by some overt disturbances, bleakness and placement of style over substance, but ultimately secured by the captivating visual style, artistically and dramatically haunting directorial style, intriguing subject matter, subtle writing, and powerful acting - courtesy of Willem Dafoe and Charlotte Gainsbourg - that make Lars von Trier's "Antichrist" chilling, thought-provoking and altogether gripping as a triumph in dark artistic filmmaking and a worthy challenge in bleak dramatic storytelling.

    Cameron J Super Reviewer. Feb 25, Lars Von Trier is a unique filmmaker that has a style that I would describe as eccentric, haunting, yet somewhat beautiful.

    With Antichrist he crafts a film that is horrifying and unforgettable. The cast here is impeccable and Trier's choices are terrific. Willem Dafoe and actress Charlotte Gainsberg deliver great performances here, and the story itself takes its time to unfold, with steady pacing, which is key in telling an effective story.

    Antichrist may not be a film for everyone, but those who enjoy Art films; well this is a film worth seeing. Antichrist is a tense, horror film with the art house flair, and Lars Von Trier delivers an unflinching.

    Raw in your face picture that has a powerful sense of visuals. Trier always seems to go for an unsettling way in telling a story, and he more than accomplishes that with this horror drama.

    Considering that Antichrist comprises of such a minimal cast of actors, I founds the film to be accomplished piece of cinema.

    If you have varied taste in cinema, then Antichrist might suit your palette. The content expressed on film is disturbing, and unforgettable, but that's what makes it resonate with the viewer.

    Antichrist seeks to disturb and succeeds in doing so. The film has its flaws, but as a piece of horror filmmaking it does succeed at capturing genre elements through Trier's camera lens.

    Overall this is a film that will appeal to genre fans, and it is well executed and quite tense throughout and like I've said before, due to its horrifying visuals, Antichrist is a film that you won't forget.

    Alex r Super Reviewer. See all Audience reviews. He: Exposure. That's the only thing that works. Everything else is just talk.

    You have to have to courage to stay in the situation that frightens. And then you'll learn that fear isn't dangerous. 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. It was followed in by Melancholia and then by Nymphomaniac in A couple has sex in their Seattle, Washington apartment while their toddler, Nic, climbs up to the bedroom window and falls to his death.

    The mother collapses at the funeral, and spends the next month in the hospital crippled with atypical grief. The father, a therapist, is skeptical of the psychiatric care she is receiving and takes it upon himself to treat her personally with psychotherapy.

    She reveals that her second greatest fear is nature, prompting him to try exposure therapy. They hike to their isolated cabin in a woods called Eden, where she spent time with Nic the previous summer while writing a thesis on gynocide.

    During the hike, he encounters a doe which shows no fear of him and has a stillborn fawn hanging halfway out of her.

    During sessions of psychotherapy, she becomes increasingly grief-stricken and manic, often demanding forceful sex.

    The area becomes increasingly sinister to the man; acorns rapidly pelt the metal roof, he wakes up with a hand covered in swollen ticks, and he finds a self- disemboweling fox that tells him "chaos reigns.

    In the dark attic the man finds the woman's thesis studies, which includes violent portraits of witch-hunts, and a scrapbook in which her writing becomes increasingly frantic and illegible.

    She reveals that while writing her thesis, she came to believe that all women are inherently evil.

    The man is repulsed by this and reproaches her for imbibing the gynocidal beliefs she had originally set out to criticize. In a frenzied moment, they have violent intercourse at the base of an ominous dead tree, where bodies are intertwined within the exposed roots.

    He suspects that Satan is her greatest hidden fear. Upon viewing Nic's autopsy and photos she took of him while the two stayed at Eden, the man becomes aware that she had been systematically putting Nic's shoes on the wrong feet, resulting in a foot deformity.

    While in the woodshed, she attacks him, accuses him of planning to leave her, mounts him, and then smashes a large block of wood onto his groin, causing him to lose consciousness.

    The woman then masturbates the unconscious man, culminating in an ejaculation of blood. She drills a hole through his leg, bolting a heavy grindstone through the wound, and tosses the wrench she used under the cabin.

    He awakens alone; unable to loosen the bolt, he hides by dragging himself into a deep foxhole at the base of the dead tree.

    Following the sound of a crow he has found buried alive in the hole, she locates him and attacks and mostly buries him with a shovel. Night falls; now remorseful, she unburies him but cannot remember where the wrench is.

    She helps him back to the cabin, where she tells him she does "not yet" want to kill him, adding that "when the three beggars arrive someone must die.

    In the cabin she cuts off her clitoris with scissors. The two are then visited by the crow, the deer, and the fox, the three beggars. A hailstorm begins; earlier it had been revealed that women accused of witchcraft had been known to have the power to summon hailstorms.

    When he finds the wrench under the cabin's floorboards, she attacks him with scissors, but he manages to unbolt the grindstone.

    Finally free, he viciously attacks her and strangles her to death. He then burns her on a funeral pyre. He limps from the cabin, eating wild berries, as the three beggars look on, now translucent and glowing.

    Reaching the top of a hill, under a brilliant light he watches in awe as hundreds of women in antiquated clothes come towards him, their faces blurred.

    Film scholar Magdalena Zolkos interprets Antichrist as an "origins story," citing its unnamed characters and setting—a woods called Eden—as primary reasons.

    Zolkos also notes the film as a "story of parental loss and the mourning and despair that follows. While the film interweaves multiple themes in Zolkos's reading, she suggests that the film is fundamentally a "very personal and revealing film—interwoven with idioms and images that document von Trier's struggle with serious psychiatric disorder, and highly informed by his experience of cognitive behaviour and exposure therapy, shamanism and Jungian psychoanalysis.

    Scholar Amy Simmons notes that the film's aesthetic components "transcend categories, and as such, his work cannot be reduced to any one message.

    In Antichrist , it is evident in the woman's intense anxiety and depressive withdrawal expressed through the neo-romantic landscape and supernaturalist elements of the forest to which she and her partner have retreated.

    Von Trier began writing Antichrist in while being hospitalised for depression. In the documentary the forests were portrayed as a place of great pain and suffering as the different species tried to kill and eat each other.

    Von Trier was fascinated by the contrast between this and the view of nature as a romantic and peaceful place. Von Trier said: "At the same time that we hang it on our walls over the fireplace or whatever, it represents pure Hell.

    I took [the horror genre] more as an inspiration, and then this strange story came out of it. The title was the first thing that was written for the film.

    Von Trier was furious and decided to delay the shoot so he could rewrite the script. In , von Trier announced that he was suffering from depression, and that it was possible that he never would be able to make another film.

    But right now I don't know," he told the Danish newspaper Politiken. The post-depression version of the script was to some extent written as an exercise for von Trier, to see if he had recovered enough to be able to work again.

    Von Trier has also made references to August Strindberg and his Inferno Crisis in the s, comparing it to his own writing under difficult mental circumstances: "was Antichrist my Inferno Crisis?

    Also credited are researchers dedicated to fields including "misogyny", "anxiety", "horror films" and "theology.

    Production was led by von Trier's Copenhagen-based company Zentropa. Plaster casts were made of Willem Dafoe's leg and the female "porno double's" vulva.

    A plastic baby with authentic weight was made for the opening sequence. Pictures found using Google Image Search had to serve as models for the stillborn deer, and a nylon stocking was used as caul.

    The vulva prop was constructed with its inner parts detachable for easy preparation if several takes would be needed. The fox, for example, was taught to open its mouth on a given command to simulate speaking movements.

    To get into the right mood before filming started, both Dafoe and Gainsbourg were shown Andrei Tarkovsky 's The Mirror from Willem Dafoe , who had previously worked with Lars von Trier in Manderlay , was cast as "He" after contacting von Trier and asking what he was working on at the moment.

    He received the script for Antichrist , although he was told that von Trier's wife was skeptical about asking a renowned actor like Dafoe to do such an extreme role.

    Dafoe accepted the part, later explaining its appeal to him: "I think the dark stuff, the unspoken stuff is more potent for an actor.

    It's the stuff we don't talk about, so if you have the opportunity to apply yourself to that stuff in a playful, creative way, yes I'm attracted to it.

    In casting the role of "She", actress Eva Green had been initially approached for the female lead. According to von Trier, Green was determined to appear in the film, but her agents refused to allow her.

    The unsuccessful casting attempt took two months of the pre-production process. Eventually, Charlotte Gainsbourg expressed interest in the role, and by von Trier's words she was very eager to get cast: "Charlotte came in and said, 'I'm dying to get the part no matter what.

    We had no problems whatsoever. Filming took 40 days to finish, from 20 August to the end of September The film was shot in the German state of North Rhine-Westphalia.

    Locations were used in Rhein-Sieg-Kreis , part of the Cologne region including rural areas in Nutscheid [32] and Wuppertal.

    It was the first film by von Trier to be entirely filmed in Germany. The film was shot on digital video, primarily using Red One cameras in 4K resolution.

    The slow motion sequences were shot with a Phantom V4 in 1, frames per second. Filming techniques involved dollys , hand-held camerawork and computer-programmed "motion control", of which the team had previous experience from von Trier's film The Boss of It All.

    One shot, where the couple is copulating under a tree, was particularly difficult since the camera would switch from being hand-held to motion controlled in the middle of the take.

    Von Trier had not recovered completely from his depression when filming started. He repeatedly excused himself to the actors for being in the mental condition he was, and was not able to operate the camera as he usually does, which made him very frustrated.

    Post-production was primarily located in Warsaw , Poland , and Gothenburg , Sweden. Over the time of two months, the Poles contributed with about 4, hours of work and the Swedes Most of these shots consist of digitally removed details such as the collar and leash used to lead the deer, but some were more complicated.

    The scene where the fox utters the words "chaos reigns" was particularly difficult to make. The mouth movements had to be entirely computer-generated in order to synchronise with the sound.

    The aria " Lascia ch'io pianga " from Handel 's opera Rinaldo is used as the film's main musical theme. The film premiered during the Competition portion of the Cannes Film Festival to a polarized response from the audience.

    Two versions were available for buyers at the Cannes film market, nicknamed the "Catholic" and "Protestant" versions, where the former had some of the most explicit scenes removed while the latter was uncut.

    The film does not contain material which breaches the law or poses a significant harm risk to adults.

    The sexual imagery, while strong, is relatively brief, and the Board has passed a number works containing such images. This reflects the principle that adults should be free to decide for themselves what to watch or what not to watch, provided it is neither illegal nor harmful.

    There is no doubt that some viewers will find the images disturbing and offensive, but the BBFC's consumer advice provides a clear warning to enable individuals to make an informed viewing choice.

    The British Advertising Standards Authority received seven complaints about the film poster, which was based on the original poster and shows the couple as they are having sexual intercourse.

    The organization decided to approve the poster, finding it to not be pornographic since its "dark tone" made it "unlikely to cause sexual excitement".

    An alternative poster, featuring only quotes from reviews and no image at all, was used in outdoor venues and as an alternative for publishers who desired it.

    In , seven years after its original release, the film was banned in France when the Catholic traditionalist group, Promouvoir, campaigned for a ratings reclassification of it.

    The film was not submitted to the MPAA because the filmmakers expected an NC rating for its graphic violence and sex.

    In Denmark, the film quickly became successful with both critics and audiences. Christensen accused the other Danish critics of overrating the film, himself calling it "a master director's failed work.

    However, Antichrist polarized critical opinion in the United States. The website's critical consensus reads, "Gruesome, explicit and highly controversial; Lars von Trier's arthouse-horror, though beautifully shot, is no easy ride.

    Von Trier, who has always been a provocateur, is driven to confront and shake his audience more than any other serious filmmaker. He will do this with sex, pain, boredom, theology and bizarre stylistic experiments.

    And why not? We are at least convinced we're watching a film precisely as he intended it, and not after a watering down by a fearful studio executive.

    That said, I know what's in it for Von Trier. What was in it for me? More than anything else, I responded to the performances. Feature films may be fiction, but they are certainly documentaries showing actors in front of a camera.

    In a blog post, he expanded on this, discussing the film's symbolism, imagery and Trier's intentions, calling him "one of the most heroic directors in the world" and Antichrist "a powerfully-made film that contains material many audiences will find repulsive or unbearable.

    The performances by Willem Dafoe and Charlotte Gainsbourg are heroic and fearless. Trier's visual command is striking. The use of music is evocative; no score, but operatic and liturgical arias.

    And if you can think beyond what he shows to what he implies, its depth are [ sic ] frightening. Betsy Sharkey of the Los Angeles Times wrote: "The story of Antichrist is a tangled mess of sex, evil and death, with Von Trier making a stab at allegory and old-fashioned horror, but ultimately failing on both fronts You might think, given the He, She, Eden, etc.

    It is not. Antichrist never rises to the symbolic; instead, it looks like nothing more than a reflection of one man's unresolved issues with the sexual liberation of women.

    But paradoxically, this is his most unwatchable film, and many will find its violence and cruelty, including scenes of genital mutilation, repellent.

    I cannot recommend Antichrist , but in a culture that hemorrhages death and torture nightly on shows like 24 or C. Arguments for censorship were common in the British press, with much criticism rooted in the EU funding the film received.

    He noted that "Trier's self-conscious arrogance is calculated to split audiences into extremist factions, but Antichrist delivers enough beauty, terror and wonder to qualify as the strangest and most original horror movie of the year.

    In Australia's The Monthly , film critic Luke Davies viewed it as "a bleak but entrancing film that explores guilt, grief and many things besides Davies described the film as "very good and very flawed", conceding "it is not easy to understand the meaning or intention of specific images and details of the film" but still concludes that "there's something neurotic and reactionary in the controversy and near-hysteria surrounding the film.

    The poster received much international coverage at the end of and was used as the local DVD cover. According to a June article in the Danish newspaper Politiken , a video game called Eden , based on the film, was in the works.

    It was to start where the film ended. From Wikipedia, the free encyclopedia. Not to be confused with The Antichrist film. Theatrical release poster.

    Willem Dafoe Charlotte Gainsbourg.

    Als Nichtprominenter wär er für das Drehbuch warscheinlich Kuhdamm 56 eingewiesen worden. Der Mann versucht später zu fliehen, was aber durch seine Beinfessel aussichtslos ist. Vor allem ihre schwere Depression, für die sie Tabletten verschrieben bekam, erweist sich als harter Brocken. Schon zwei Mal in kürzester Zeit geschaut und immer noch weit weg von einer klaren, eindeutigen Zahl. Von "Antichrist" erwartet man viel. Tatsächlich stirbt nicht nur das Kind, sondern auch die Tiere erscheinen jeweils unter einem Vorzeichen des Todes: Das Kostenlos Serien Online Stream hat eine Fehlgeburt, der Fuchs zerfleischt seine eigenen Eingeweide und die Krähe erwacht Sleep Tight übersetzung zum Leben, obwohl der Mann sie totschlägt. Overlord 2 Episode 6 Zentrum der Das Gerede über die expliziten sexuellen und Gewalt Darstellungen finde ich Davor hatte er noch bezweifelt, jemals wieder auf dem Regiestuhl Platz nehmen zu können. FSK 18 [1]. Sie beginnt sich ihrem Mann zu verweigern, der zunächst durch seine Autorität als Therapeut und seine bedingungslose Forderung an Pathfinder Online Frau, sich ihrer Furcht zu stellen, eine dominante Position innehatte. Kritikerrezensionen Cinefacts. Filme von Lars von Trier. Während der von Anthony Dot Mantle wunderbar fotografierte Prolog schon eine surreale Atmosphäre kreiert, setzt Lars von Trier hernach auf eine Kombination aus Handkameraeinsatz, Unschärfen, Jump Cuts und ständigem Perspektivenwechsel, um die anhaltende Verstörung zu unterstreichen. Filmtyp Spielfilm. Antichrist 2009 Antichrist 2009

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