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(There may be a deliberate echo here of the famous sex scene in Nicolas Roeg's "Don't Look Now," a far more keenly calibrated examination of grief succumbing to the supernatural.)ĭafoe and Gainsbourg are riveting as the ill-matched couple.
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The prologue - the child's death - is a luxurious, slow-motion rhapsody of explicit sex, black-and-white photography and baroque music, commingling with the infant's almost ersatz tragedy and finding perfunctory counterpoint in banal close-ups of the family's washer-dryer. It's not often that an art-house director takes up the implements to make a horror film, and for a while, "Antichrist" compels with its anguished intensity and audacious stylistic choices, not least the severity that keeps the focus exclusively on this man and woman, neither of whom is named. The Danish provocateur twice won prestigious honors at the Cannes Film Festival (with "Breaking the Waves" and "Dancer in the Dark") and re-energized European art cinema in the 1990s with the Dogme movement's so-called "Vows of Chastity." The movie's peculiarity can be accounted for in three words: Lars von Trier. Halloween is nearly upon us, but "Antichrist" is a mighty strange kind of horror movie, a wrenching psychodrama for two-thirds of its running time before collapsing into a steaming heap of deranged sadism and supernatural symbolism in the outrageous third act. Not a good idea for either of them, as it turns out.
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He will be her partner and her grief counselor, and he will see her through this, if only she will place her trust in him. She's hospitalized and sedated for days and weeks before her husband (Willem Dafoe), a therapist, insists she return home. The mother (Charlotte Gainsbourg) is consumed with grief and guilt. (CNN) - An infant falls to his death from a second-story window while his parents are making love.