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Antichrist

Kristian Eidnes Andersen, Lars von Trier

Winner of the Cannes Film Festival’s Best Actress prize for Charlotte Gainsbourg, this intensely controversial and graphic drama from notorious Danish director Lars von Trier looks at the complete psychological disintegration of a marriage (Gainsbourg and Willem Dafoe) after they retreat to a remote cabin in the wake of their son’s death.

Regular von Trier collaborator Kristian Eidnes Andersen once again steps in to furnish what is effectively a secondary score in a film primarily underscored with classical arias, most notably Handel’s “Lascia ch’io pianga” from the opera “Rinaldo,” here performed by Tuva Semmingsen (“Rinaldo Epilog” and “Rinaldo Prolog”). Conceived almost in direct counterpoint to the florid emotiveness of the arias, Andersen’s brief but chillingly effective tracks (“Attic,” “Foetus,” “Intro,” “Train” and the two-part “Credits”) almost belong more to the realm of sound effects than music, low drones and rumbles mixed with high-pitched tones, occasional vocals and dissonant, interruptive chords that are ultimately more reminiscent of Stanley Kubrick’s use of the work of Romanian-Austrian composer Gyorgy Ligeti in
2001: A Space Odyssey and The Shining than conventional film music.
Antichrist

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