Intensifying the use of ideal montage, this gloomy forest goes deeper into the lost inner world of the heroine. In this inner world, the Dane is as good at exploring adventurous experiences as the Tarkovsky he admires. It’s just that Lars von Trier’s exploration method is so deadly and extreme, from the entangled human body to the intertwined tree, from the failure of warm feelings and consolation sacrifices to the loss of control of women caused by men’s arrogance, while recording women’s physical and mental orientation ( The pyramid on the slip of paper that he feared), from the bottom to the top, were written "trees, forests, garden of Eden", and the top of the tower was marked by a man from "nature" to "Satan" and finally became "self", ending the conceited hammer. the coming.
As for "romantic love", it was destined to be just a joke by the director. I couldn't understand it because I was nervously clutching my dick after being conveyed by the cruel picture. If there is, it exists only briefly in the rapturous intercourse at the prologue and the blurry faces in the woods at the end that accompany Handel's Rinaldo.
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