In Antichrist (Lars Von Trier, 2009), the inverted story of a modern-day Adam (He) and Eve (She) and the death of their son, we witness the deep wound that von Trier himself suffered when his mother revealed to him a truth. He would later reveal this truth to the general public, and I follow the film’s own allusive structure by returning to this revelation only at the end of this report.
Lorenzo Javier Torres Hortelano
Girlhood Identity in The Craft
calls out, “I can feel you in me! I am your daughter now.” This positions Nancy “in Christlike terms, but as a perversion, an anti-Christ of sorts” ( P. Thomas 2009: 225 ). Sarah and Nancy are depicted as opposite sides of the same coin. While Sarah does