Lars von Trier’s newest is a disturbing one. Careful with the reviews though, discussions of Antichrist’s disturbance often become spoilers.
The flick has absolutely stunning cinematography. Slow motions and art-like colours are combined throughout the film with an eerie soundtrack. Depending on the viewer, it might also be viewed either as a feminist or a misogynistic film. Beauty/ugliness, inside/outside, bliss/pain, life/death, you name it. Lars likes to disturb. In a way, this play with contrasts is an old one.
One likable feature in von Trier’s story-telling is his habit of dropping hints along the journey. On the other hand, these traces, picked up and followed, can lead to an underlined use of symbolism. What he discusses nicely is man’s relationship with nature, fear, the forest around him and how it gazes him from within himself.
The cabin becomes the self.