Hecklers, Women vs. Men, Depression and Horror: Von Trier “Appears” at NYFF
by Bryce Renninger (September 23, 2009)
Dennis Lim of the Film Society of Lincoln Center moderates the discussion with Lars von Trier via satellite from Denmark Wednesday morning. [Photo courtesy of Bryce Renninger]
In a conversation that ranged from misogyny to his leadership in the dogme movement to the “provocateur” label, Lars von Trier spoke to journalists in anticipation of his “Antichrist” US premiere as part of the New York Film Festival’s 47th installment. The travel shy Dane spoke to the crowd of unusually vocal critics from his home via Skype. Moderator Dennis Lim, a part of the programming team for the NYFF, led the discussion off with a question about the state of mind von Trier was in when he made the film. “Antichrist” starts with the death of a young toddler. The boy’s mother (Charlotte Gainsbourg) develops terrible grief and is taken from the hospital where she is receiving psychiatric help to be treated at home by her husband (Willem Dafoe), a therapist. Responding to Lim, von Trier said that perhaps this feeling was a rare departure from his “usual satisfaction with his life and work,” a glimpse of “being human.” He added that perhaps his mood is changing with his New York premiere, saying “If you can make it there, you can make it anywhere.” Expounding on the original aims for “Antichrist,” von Trier was at a loss. “I wanted to make a horror film.” Beyond that? “Normally, I know what to say, but I can’t tell you.” Upon being asked if David Lynch’s film “Blue Velvet” had anything to do with the script of “Antichrist,” von Trier said that he was a fan of “Twin Peaks,” but that he hadn’t seen “Blue Velvet.” Any similarity in the masochism of “Antichrist” and “Blue Velvet,” he joked was perhaps because “Lynch and [he] share a fetish.” Building on his categorization of “Antichrist” as a horror, von Trier said that he thinks there are hints of “Rosemary’s Baby” in “Antichrist” and that he watched several Japanese horror films to see the way horror is treated across cultures. When asked what he thought made a horror film a classic, he said that it is not “scares” but rather style and mood. Emphasizing the creative license allowed in horror, he added, “Horror allows room for a lot of strange pictures.”
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