Antichrist (2009) — REDUX

A steadily rising tide of pathological psychosexual tensions burst into life as mythological horror and exploitative violence, concluding on the ultimate orgasmic ritual fantasy that’s stark, free, and superficially erotic (to the naive/sociopathic), paradoxically (but validly) akin to corporeal rumination on heaven itself. Jump to: a dreamscape mirage of fear fulfilled, and the incredible exploitation, through some magik, nonetheless seems justified. Antichrist is Lars von Trier’s ultimate unfettering of any and all restraint and decency, melded into organic visual art, obscene moving plastic. And it’s brilliant to boot.

Much like the Antichrist him/itself would need a human transport to carry out Satan’s work, von Trier found with the making of Antichrist a vehicle in “Christian” mysticism and mythology for his interest in the perverse. Birth and death are the parenthesis for this mysticism: unclean birth and ritualistic, sacrificial death. Ostensibly, however, at its core is the base drive of sex contributing to evil as wielded by the female form.

Easily misconstrued as simple misogyny, more instructive to look at it as a simple metaphor: woman as the nurturing symbol of Nature is however seen as evil in essence (Nature kills, blindly) within the purview of intentionalist morality. von Trier’s first level intention, clearly, is to blur the lines between Nature Herself and the bestial nature of not only women but humanity, through the stereotypical archetype of the tormented and possessed.

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