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
Situating Screen Bodies
number of articles on film sound, musicality, and embodied screen experience; examinations of films by Michael Haneke, Barbara Hammer, Darren Aronofsky, Lars von Trier, Jim Chuchu, and Naomi Kawase; and speculative articles on constructions of the
The Human Body as Raw Material
interpretations and reconfigurations. In Lars Von Trier’s four-hour sexual epic Nymphomaniac , we find yet another exploration of this idea. However, whereas in The Human Centipede we are introduced to people whose bodies are used against their wills, in