It causes the viewer to think about how much of who/what they have become and act is part of their societal environment or hereditary upbringing. They were both a slasher-esque psychological thrillers in which this maternal creepy Nature vs. I am sure that von Trier would hate me for thinking that, but while I am on American film, there were also parts of Psycho (1960, Alfred Hitchcock) that were relevant and they were not only the B&W prologue and Epilog. Other films that I feel influenced this film or paralleled it were: Stephan King’s Misery (1990, Rob Reiner), (Also Stephan King’s) The Shining (1980, Stanley Kubrick), both big heavy hitting American Horror film, which I couldn’t help but think of while watching Antichrist. Nature and natural element were a huge focus of this film as well as the story, even greater than Dancer in the Dark. Sound and image were definitely the most important elements of this film, which I thought also of Dancer. There were some handheld scenes in the film, but I am not convinced it was all shot that way. The colors are vivid, and the lenses focus moves in and out, sometime racking back and fourth, sometimes completely blurred or just softened. The lighting, a la Dancer in the Dark(2000, Lars on Trier) was natural looking during the main part of the film. As promised, here is my formal film review of Antichrist…įirstly, Antichrist (2009, Lars von Trier) both written and directed by Lars von Trier channeled many other films for me immediately… in reference to his previous work, the cinematography was really in-line with his figurehead status of the Dogma 95 style*, but moves slightly away from certain rules of the style, making it more Modern American arthouse cinema than Dogma. I will also watch the director commentary and then the extras on your bluray copy. I watched your uncut “Protestant version” and have downloaded the “Catholic version” on iTunes, to watch later.
Where to start with this one? Ok, well first… thank you Mark for sharing this film with me, from your personal collection. Mina wonders about her allies on Earth, shortly before discovering Professor Moriarty's body inside a block of ice, floating in space thanks to the Cavorite he kept at the end of Volume 1. He tasks them with stopping a war in the Moon, which would risk the security of the Earth colonies there.ġ964 - Huckleberry Friends: Mina, the Golliwog and the Dutch Dolls fly to space aboard the Rose of Nowhere. Allan promises Mina "The Moon over Soho".ġ964 - Her Long, Adorable Lashes: Focus on Allan and Orlando 's new sexual adventure: domination and submission.ġ964 - Requiem for a Space-Wizard: Mina (under the alias of Vull the Invisible) talks with Captain Universe in his fortress (after his victory upon the Space-Wizard) about the recent disband of the Seven Stars.ġ964 - Coming Forth by Day: Prospero calls Mina, the Golliwog and his Dutch Dolls to the Blazing World. Plot Chapter One: Into the Limbus ġ236 BC - Love Amongst the Troglodytes: Describes Bio first contact with the Pool of Life and the immortal troglodytes, as well as her contact with the shards of a black monolith.ġ910 - In the Wake of the Black Nautilus: Allan Quatermain and Mina talk about their relationship, shortly after the mass-killing event at London's harbor zone. James Colvin". The story is set across several different time periods, although it mainly concerns a lunar mission by Mina Murray and the Golliwog in 1964. It is written in the "New Wave" style, by a certain John Thomas, and described as "Originally serialised in Lewd Worlds Science Fiction, Ed.
Minions of the Moon is a three-part illustrated text story at the end of the three parts of Century.