The couple decides to get away from it all: they retreat to a cabin in the woods called Eden (the symbolism is slathered on rather thick) and try to get through their grief and create a kind of reconciliation. The sequence is a stunning piece of virtuosic filmmaking (aided by ' Slumdog Millionaire' cinematographer Anthony Dod Mantle): shot in black-and-white, using a Phantom camera that captures 1000-frames-per-second and slows things down to an infinitesimal crawl (including shots of actual penetration, thanks to some porn star stand-ins).
While in the heat of passion, their young child climbs out an open window and plummets to his death. The movie starts out strong: Willem Dafoe and Charlotte Gainsbourg play a man and woman (identified only as He and She in press materials) who, in the opening sequence, are seen passionately making love. It was the art house version of ' The Human Centipede,' basically – something you had to see, if only through a web of fingers, enriched, in this case, by a perception of deeply felt misogyny (which certainly isn't aided by von Trier's previous films and reputation for torturing his actresses).īut I think this is giving 'Antichrist' both too much credit and not enough. It's incredibly easy to dislike Lars von Trier's 'Antichrist,' a film that was almost universally reviled from the word "go." Once it had its premiere at Cannes, with walkouts, catcalls, and an indignant British journalist (caught on video and appearing on this disc for all of prosperity) asking the director to justify making the film, it seemed to be blacklisted amongst "serious" film fans.
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