
Copyright (c) 2009 CineGoGo
Hopefully by now our few faithful readers are aware of “The Shining Challenge,” in which we will watch or read your suggested material (i.e., books & movies) with themes of isolation, madness, and downright creepiness.
I know it’s only just December, and we haven’t been at this long, but: We have a winner. Shawn Convey, please come claim your prize, and then do me the favor of never ever suggesting another film for this challenge. Pretty please.
No film has ever left me wanting so badly to un-see what I’ve just seen, to erase all traces of the images that pop up behind my eyes at just the worst times (Hubby wants a kiss and a cuddle, huh? Did I just shudder and gag in reply? Yes, I did.) But this has always been what director / writer Lars Von Trier is about: making us squirm.
I’m not talking about the kind of squirming that happens when you realize the movie you’re watching with your parents has a sex scene–you get over that (if you have the misfortune of seeing Antichrist with your folks, do yourself a favor and chase a bottle of Vicodin with a jug of vodka, because you’re never getting over it). LVT’s brand of squirm is deeply internal, in your guts and your frontal lobe, your id and your ego. You’ll think you know why you’re uncomfortable, but it won’t occur to you until much later that you were disturbed by something else entirely. But this is the payoff I’ve gotten with von Trier—if I have the patience and the fortitude to subject myself to his films, the insight that comes after the initial shock is truly spectacular.
In necessary—but insufficient—summary: the movie revolves around a nameless Man and Woman (who could be any man and woman) whose toddler dies in the opening scene, falling from an open window while they’re having sex (le petit mort at the exact same moment as the little one’s death—you gotta love von Trier just for this shit). The Woman (played by Charlotte Gainsbourg, who won Best Actress at Cannes for this role) grieves destructively—she’s an understandable, yet uncontrollable and violent, wreck. The Man (ever-creepy Willem Dafoe, aka Cheekbones McGee), a therapist, strives to assist his partner rationally through her grief, and suggests going to the place she admits she fears the most: Eden, a “fictitious” forest / cabin retreat. Much horrific, haunting, and nauseating shit ensues at this point, and I will try, without spoiling too much, to be specific about why this is the best (or worst) movie to watch in a cabin in the woods in the middle of winter.
Tina Beattie, in her article “Antichrist: the visual theology of Lars von Trier,” writes most convincingly about the film’s portrayal of Genesis; namely, of Eve’s culpability in the fall of man, and women’s subsequent struggle with the guilt and consequences of that imposed culpability. Beattie writes that as the couple crosses a small bridge on their hike to Eden, they are crossing a boundary between “culture and nature, reason and chaos, sanity and madness.” It is the “bridge to hell.” Where so many other filmmakers have envisioned urban landscapes or apocalyptic futures as ideal hells, von Trier hands us nature, to which we often ascribe heavenly attributes—and he even goes so far as to name it after paradise itself.
Before arriving in the woods, we are privy to the Woman’s thoughts as she imagines walking to Eden, and the composition of these shots (slow motion, the Woman in stark black and white, looking almost like a paper-doll cutout) evokes such an unsettling dichotomy of sensations: quietude and peace, terror in an unidentifiable form lurking everywhere. If you’ve spent time alone in the woods, this scene will feel very familiar.
Also familiar and unsettling is the film’s portrayal of nature as destructive and creative, disgusting and lovely, violent and nurturing. It’s so easy to fall victim to the simple-minded and comforting notion that nature heals us somehow, offers us peace and security that we can’t find in the hectic “real world.” But it’s not always true. Things die in nature, sometimes very violently and suddenly, and often not under handy and blamable circumstances that occur more frequently in “the real world”—car accident, cancer, old age. “Chaos reigns,” the fox reminds the Man, in between bites of himself, ironically reminiscent of the ouroboros, a symbol not of destruction, but of wholeness and infinity.
Yes, I’ll admit that ten minutes of this movie were the most nauseating minutes of film I’ve ever watched, but oddly, those ten minutes aren’t the bits that I would call creepy or haunting. Just like The Blair Witch Project, it was the subtle little things—the chaos of nature—that raised the hairs on my neck. Acorns fall unceasingly and rhythmically on the metal roof of the cabin throughout the film, like an aural Chinese water torture. The wind gusts momentarily, and dies again suddenly. The Man wakes one morning to discover that he’s slept with his hand out the open window, where it’s been covered with leeches. A baby bird falls from a dead tree and is immediately swarmed by ants. A deer has partially birthed a dead faun, which still hangs halfway out of her body, and flops sickeningly as she runs through the woods. Twigs snap like bones breaking. The sounds of things moving and growing and dying are everywhere, quiet but deafening, and by the time the visual chaos comes, you’re in such a state of panic and nerves that you’re too stunned to close your eyes.
I can’t say that I liked it, but it definitely did a number on me.