Antichrist has been promoted to the List of the 366 weirdest movies of all time. This page is left here for archival reasons. Pelase go to 72. Antichrist for more in-depth coverage of the film and to make comments.
DIRECTED BY: Lars von Trier
FEATURING: William Dafoe, Charlotte Gainsbourg
PLOT: After the death of their only child, a therapist takes his grieving and anxiety-ridden wife to a retreat in the woods to face her irrational fears; when they arrive, nature itself seems determined to drive them both mad.
WHY IT’S ON THE BORDERLINE: Actually, von Trier’s troubled and troubling Antichrist is almost a shoo-in to make the List of the 366 Best Weird Movies. Though the graphic torture-porn (and plain old-fashioned porn) elements have stolen the headlines and alienated viewers, at bottom this is von Trier’s spookiest and most mysterious film, a trip deep into the heart of darkness, and one the viewer may have as difficult a time returning home from intact as the characters do. The irrational horror of von Trier’s vision is only magnified by the sense that you aren’t so much watching a filmic depiction of madness as watching a director going insane in real time, before your very eyes: he seems to lose control of his story as it progresses, turning the climax over to his internal demons for script-doctoring, before reasserting some measure of control of his material in a surreal epilogue. While worthy of consideration, Antichrist finds itself in the same situation as the Coen brothers A Serious Man; we’re not going to officially certify it for the List until it receives its home video debut and we have a chance to scrutinize it more closely than is possible in a cinema.
COMMENTS: Lars von Trier desreves to be roundly criticized for burdening Antichrist with approximately four transgressive, shocking scenes: not because such sights should never be shown, but because these tasteless displays dominate our experience and force every viewer (and reviewer) to deal with them first and foremost. Their sole artistic function are to serve as obstacles to appreciating the grim beauty of the remaining film. Whether their inclusion is a calculated act by a prankster director, or a lapse in judgment resulting from psychological impairment (von Trier claims to have written the script as self-therapy to help him deal with a crippling bout of depression much like the one suffered by Charlotte Continue reading LIST CANDIDATE: ANTICHRIST (2009)→
“When I saw a piece of fried bacon fixed to the bathroom wall in Gummo, it knocked me off my chair.”–Werner Herzog
DIRECTED BY: Harmony Korine
FEATURING: Chloë Sevigny, Jacob Reynolds, non-professionals chosen for their freakish looks
PLOT: A tornado devastated the town of Xenia, Ohio in the 1970s. Twenty years later, a teenager (Tummler) and a younger tagalong (Solomon) hunt feral cats, selling them to the local grocer for money they use to buy sniffing glue and trysts with a fat, mentally disabled prostitute. Meanwhile, other white-trash characters roam the landscape unsupervised, including two trashy teen girls who seem to be raising their kid sister and a shirtless mute boy who wears pink bunny ears.
Harmony Korine (who is male) had previously written script for Kids (1995). He was given $1.5 million and free reign by Fine Line Features (the now-defunct “independent” branch of New Line Pictures) to create exactly the picture he wanted to.
A devastating tornado really did hit Xenia, OH in 1974.
Gummo was the fifth Marx brother, who left the group before they began their successful film career.
Although critical reaction was largely negative (scoring a disappointing 29% on Rotten Tomatoes tomatomer at press time), several established directors—Werner Herzog, Bernardo Bertolucci, Jean-Luc Godard, Gus Van Sant, and Erol Morris—expressed admiration and support for the picture.
INDELIBLE IMAGE: No one forgets the scene of Solomon eating spaghetti and chocolate in the grimy bathtub with oily green water (with, as Werner Herzog marveled, bacon taped to the walls). The most illustrative image, however, may be when “Bunny Boy” (the shirtless waif wearing pink bunny ears) thrusts a dead cat at the camera. This vision brings to mind the act of this director presenting this work to his audience.
WHAT MAKES IT WEIRD: Gummo looks a lot like what might result if someone took home movies from that embarrassing, welfare-addicted branch of the family no one likes to talk about and mixed them in a blender with the final project short films from the NYU Film School graduating class of ’97.
“I mean, I don’t know how to describe it. But I just did. It’s just an insane f***in’ movie with insane parts. You’re watching it, it gives these curves that you didn’t see coming, until probably I just told you and showed you in the review. But it’s just I don’t even know how else to review it, you know, the, it’s just insane. It’s an insane f****in’ movie. Uncle Bill, you’re insane for liking it, and I’m insane for liking it too. It’s just insanity incarnate. But it’s a lot of fun.”–youtube fan review of Blood Diner
DIRECTED BY: Jackie Kong
FEATURING: Rick Burks, Carl Crew
PLOT: At the direction of their uncle Anwar, a talking brain in a jar, two restaurateur brothers assemble a vessel composed of body parts harvested from immoral women to receive the spirit of the ancient Egyptian goddess Sheetar. They are opposed by a pair of mismatched cops and the owner of a rival vegetarian restaurant intent on stealing their secret recipe. After many bloody murders, they must complete only the last ritual, a “Lumerian feast” where Sheetar will take the life of a virgin, along with the attendees at the banquet.
Blood Diner was originally intended to be a sequel to Herschell Gordon Lewis’ transcendently bad Blood Feast (1963), but when the collaborators could not agree on a scenario the project was changed to a black comedy tribute in the spirit of Lewis’ movie.
Blood Diner was originally banned in some Canadian provinces and in Iceland, and was heavily cut for release in other countries.
INDELIBLE IMAGE: As drug-zombies rave and cultists in Egyptian dress attempt to channel the goddess into a stitched-together corpse, a punk band (composed of a singer in a Roman helmet, two backup singers in blue wigs, four sidemen dressed as Hitler and a pantomime horse roaming the stage) plays in the background.
WHAT MAKES IT WEIRD: Most movies featuring talking brains in a jar are weird, and Blood Diner is no exception.