A grieving couple retreats to their cabin 'Eden' in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse.
Antichrist divided critics almost perfectly down the middle: warmly embraced in Denmark and by a handful of serious American and British reviewers, but dismissed or condemned by many others as shock provocation masquerading as art. The fault lines ran through questions of whether von Trier's graphic imagery—genital mutilation included—earns genuine symbolic weight or reveals, as some put it, nothing more than a director's personal obsessions; even admirers often acknowledged the film was deeply flawed alongside whatever they found extraordinary in it.
“Trier's most visually lush and technically rigorous film; it captures things at a molecular level and in a slow motion that all but brings the world to a halt ... But paradoxically, this is his most unwatchable film, and many will find its violence and cruelty, including scenes of genital mutilation, repellent. I cannot recommend Antichrist, but in a culture that hemorrhages death and torture nightly on shows like 24 or C.S.I., I can understand it.”
Duane Dudek·Milwaukee Journal Sentinel
“Trier's self-conscious arrogance is calculated to split audiences into extremist factions, but Antichrist delivers enough beauty, terror and wonder to qualify as the strangest and most original horror movie of the year.”
Kim Newman·Empire
“a bleak but entrancing film that explores guilt, grief and many things besides ... that will anger as many people as it pleases”
Luke Davies·The Monthly
Drama, Horror, Thriller
A grieving couple retreats to their cabin 'Eden' in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse.
Antichrist divided critics almost perfectly down the middle: warmly embraced in Denmark and by a handful of serious American and British reviewers, but dismissed or condemned by many others as shock provocation masquerading as art. The fault lines ran through questions of whether von Trier's graphic imagery—genital mutilation included—earns genuine symbolic weight or reveals, as some put it, nothing more than a director's personal obsessions; even admirers often acknowledged the film was deeply flawed alongside whatever they found extraordinary in it.
“Trier's most visually lush and technically rigorous film; it captures things at a molecular level and in a slow motion that all but brings the world to a halt ... But paradoxically, this is his most unwatchable film, and many will find its violence and cruelty, including scenes of genital mutilation, repellent. I cannot recommend Antichrist, but in a culture that hemorrhages death and torture nightly on shows like 24 or C.S.I., I can understand it.”
Duane Dudek·Milwaukee Journal Sentinel
“Trier's self-conscious arrogance is calculated to split audiences into extremist factions, but Antichrist delivers enough beauty, terror and wonder to qualify as the strangest and most original horror movie of the year.”
Kim Newman·Empire
“a bleak but entrancing film that explores guilt, grief and many things besides ... that will anger as many people as it pleases”
Luke Davies·The Monthly
Drama, Horror, Thriller