Li Boyan
Published in "Holiday 100" on February 26, 2010 In
comparison, "The Antichrist" is Lars von Trier's most esoteric work so far. I can't say how good he is. With such a huge Christian culture in Europe, whether it is advocating or resisting, how can such a four-part film be adequate. The story of "The Antichrist" is extremely simple to tell. A couple lost a child and the wife was in low spirits. In order to take care of her, the husband took her to the forest to relax. Unexpectedly, it backfired, and the wife fell into a manic mental illness.
It is such a simple story, packing its philosophical and religious elements into a forest that is very intricate and intricate. Explaining this story is probably not enough.
When he was speechless, he felt that he was in La Shi's arms. At the beginning of the movie, the wife blamed herself for the death of her child, and her husband, like a psychiatrist, took great care of her, and even deeply admired the audience. To help his wife recover better, her husband took her from the city to the woods. The woods have fond memories of their wife and children on vacation, but the wife, who has not recovered from her grief, is terrified of their house deep in the woods. The symbolism of the forest can almost be seen as religious imprisonment. Just halfway through the plot, the wife seemed to be possessed, the nameless fire spread, and the plot became more and more bizarre, they abused each other, the wife beat her husband, and began to torture his flesh little by little, breaking his leg bones, using stones Punching his genitals, bleeding the erect male genitals, piercing the husband's feet with a screwdriver, screwing in and hiding the wrench. At this point, the audience is convinced that the husband is a symbol of Jesus and the wife is the "Antichrist."
Things that are too profound always make people speechless. When I saw the films of Lars von Trier, I used to compare them with the works of the former Soviet director Tarkovsky. Both of these films are profound and not easy to explain. La Clan has long expressed his admiration for Tashi, but La Clan has never met him. When Clan passed away in 1986, La Clan had just made his debut film "European Trilogy". The vastness of thought. Ragnarok understands all the films of the tower (the Danes understand the Slavs as the Koreans understand the Chinese), but the tower may not have heard of this Nordic guy. If it is assumed that they met by chance, it is very likely that they will become friends. These two are very precocious, and Ta Shiyi may accept him as a disciple if he is happy. Their debut novels are similar in effect. They both firmly believe that "a person can rebuild his covenant with the source of his soul, thereby restoring his relationship with the meaning of life." However, the appearance of deep connotation is completely different, just talking about the camera, the tower style Steady and steady, La Shi swayed, the former was long and far-reaching, the latter was short and short. The tower style pays attention to landscaping. Ke La's once went to the path of minimalism, not only did not create landscaping, but did not.
Until the present "Antichrist", the tower-like traces are vividly seen in the image, and the lens with the tower-like meaning is used willingly. Long shots are increasing, and slow motion is common. He even put the words "Homage to Andrei Tarkovsky" at the end of the film. He explained: “After I watched Tarkovsky’s film Mirror, I really liked the relationship between people he showed in the film, his camera language, his handling of sound were very Fascinates me. I will watch his films over and over again. I think, Tarkovsky is God himself... Tarkovsky has expressed what he wants to express, wrote his Thinking and thinking. In many ways he was a forerunner, pioneering a lot of movies."
Lu Xun said, "Comparison is the best thing." Yes, is there anything else to say?
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