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Lorenzo Javier Torres Hortelano

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.

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

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

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

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