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Reviews of Quintilian Antichrist (2009)

Lars von Trier's masterpiece

I came in the room with the injury of those who have a little 'faith in the opinion of the critics, that is what is reflected in the feeble minds of the masses and not very fertile after you have read and heard the so-called "critical", those who are reviews of craft that, this time, they were not the best ...

During the film I was rather fascinated, as always, the style of Lars von Trier unparalleled and unique.

The memory immediately went to Dogville, divided into nine chapters fascinating ... ( http://www.youtube.com/watch?v=zmLfE6UiEHE&feature=related )

Here, though longer, there are only four, framed with a prologue and an epilogue very tasteful.

I found myself faced with an aesthetic masterpiece, This showed a Weltanschaunng pantheistic and immanent in the manner of Giordano Bruno, Spinoza, Fichte, or, even better, Schelling, dreamlike visions idealistic, romantic, the Novalis (think of The Disciples of Sais) totally immersed in nature that call, by contrast, a memory panismo of D'Annunzio.

not alone!

Trier's work is a journey that takes us back in time explicitly in the Middle Ages, the era of witch-hunting era but also the angelic woman.

And from the smoke and the mists of time glimpsed in the film, the dark forest of Dante and the three beasts, here enigmatically processed in the three beggars, which set the man, almost like the Sphinx Oedipus ago, saying that the Chaos reigns supreme.

Pasolini In a series of quotations from mannerism to the nth degree are also the reference to Henry and Otto his Dante's Inferno, the 1927 silent film that made movie history.

Time travel is however, only one entry for a journey into the unconscious and psychoanalytic metaphysics, which investigates the origins, or rather the roots of life and sexuality, and that leads up to Eden . Nature is a forest of symbols, the unconscious, and the entrance into it is the woman. The scenes of the film refer to the pictorial in relationship with nature through the eyes of Trier, which reads and reproduces images that make us think a little 'a dead Ophelia by John Everett Millais

or exploring the unconscious, such as paintings by Johann Heinrich Fussli

and Caspar David Friedrich (for which please refer to the essay contained in this blog in http://laboratorioculturale.blogspot.com/2009/07/rapporto-delluomo-con-la-natura-di.html , my former student Valerio Toldonato) in in a bloody manner, and delicate time like an oxymoron, so dear to my Master (Pasolini, of course), which is implicit in this work as in other of Trier. The main theories of Freud, are the red wire, green wire even in this case, and link the plot develops in a contrasting dualism, which degenerates dialectically in a final duel between man and woman. The dream is the film itself, which therefore must be analyzed and interpreted: it slips between , the blunders, removals, hysteria, the compulsion to repeat, glimpsed clearly vs Eros. Thanatos, pleasure principle vs. . principle of death, to the bloody scenes of the castration complex and penis envy. We should not forget however, the reference to Oedipus, I've already mentioned here: the child in the film has turned the shoes on the contrary, a malformation of the foot, and you just drilled near the left foot of man from the woman's leg, a foot that emerges in the bottom left of the hole in which he refuge as in the famous painting Oedipus and the Sphinx by Jean Auguste Dominique Ingres ... and Oedipus means "swollen foot." All this to mean another theme in the film the Freudian Oedipus complex, here reversed, perhaps fought ... the child to die immediately, that the synthesis (almost "chlorophyll") between the thesis (the father) and antithesis (the mother). The mother dominates! The woman, that Nature, Mother Earth, the Church of Satan, the Antichrist is probably itself. In the end, is the man to win Trier, however, she grows and people, even to coincide, Nature without a recognizable face, in a procession, the solemn nostalgia, accompanied by the music of Handel's Rinaldo: " Let me weep / my cruel fate / and who long for freedom "( http://www.youtube.com/watch?v=vcCyL6hZhpk ).

Necessity and freedom coincide, therefore, in nature, Mother Earth and its deep unconscious. It is difficult, therefore, to Trier, despite attempts to go para Fuseini, against Nature.

A horror? Yes, but it's just an excuse ... Who's going to the movies to be really frightened by psychoanalyze ... L ' horror is just the smokescreen used by Trier wants to talk more, much more to his audience. Trier calls this film his masterpiece, as did Pasolini Salò. Even then I initially did not understand but then I realized how much there was greatness in that work of the Master, and I think that, even in Trier, we can assume the same outcome in my opinion: Antichrist is truly a masterpiece Lars von Trier.

Dario Coppola