Lars von Trier’s Antichrist is an uncompromising film that pushes viewers to their limits and challenges the audience to think about the nature of evil. It is unabashedly dark and bleak and definitely not a film for everybody. A simple plot combined with gorgeous filmmaking and two extraordinary performances make Antichrist worth seeing, but it is surely not for the faint of heart. It is not an exaggeration or hyperbole to say that there are certain images from this movie I can’t get out of my head, though I would very much like to.

Antichrist opens with an epilogue that is one of the most beautifully shot sequences I have ever seen, filmed in slow-motion black and white set to soaring opera. A couple, credited only as He and She, make love in their apartment while in another room their infant son escapes his baby gate and falls out an open window. Things go down hill from there. She (Charlotte Gainsbourg) is grief stricken and hospitalized after the incident, He (William Dafoe) concludes that he can use his skills as a therapist to help her better than her doctors could. Those that are familiar with von Trier’s work should immediately recognize that such an act of arrogance cannot go unpunished. The couple goes to their cabin in the woods, tellingly named Eden, to mourn and heal. He creates a series of therapeutic exercises for She that become increasingly difficult for her until she finally snaps and subjects He and herself to nauseating acts of sexual violence.

After the epilogue the films proceeds through four chapters: “Grief”, “Pain (Chaos Reigns)”, “Despair (Gynocide)” and “The Three Beggars” before finally concluding with an epilogue. As with many of von Trier’s films Antichrist relies heavily on symbolism and subtext more than actual plot to make his statements. I found Antichrist to be more ambiguous than many of his other films, something like Dancer in the Dark seems almost straightforward in comparison. As with all great avant-garde cinema Antichrist is certainly open to interpretations as to what this enigmatic film is about. I’ve considered several theories and find few to be rather compelling. The first would be that this film is exactly an inversion of the Christ story, with She as an evil female the direct opposite of the male Christ. This is supported by opposing symbolism to the Christ story, such as three beggars instead of three kings, the death of an infant instead of a birth…etc. Much of the film deals with the nature of evil as well as evil within nature, a paradox that seems illogical but seductive at the same time.

The other interpretations I found were more literal, that the absence of Christ in the lives of He and She allow both of them to spiral into madness and despair at the loss of their child. There are clues that She has Munchausen syndrome (by proxy) subtly planted throughout the film, feeling neglected she will harm herself or the child for attention and sympathy. He is not an innocent in this either, as the film continues on their shared psychosis depends on his cruelly withholding the affection she clearly needs in favor of superficially professional “therapeutic” help. As the story continues a literal interpretation draws many parallels to the shared delusions of the couple in the 2006 film Bug.

Stylistically Antichrist is a great achievement, at once hauntingly beautiful and shockingly graphic. The saturated greens of the scenery are truly breathtaking as is the close attention paid to detail in all the slow-motion sequences. A largely atonal score adds a sense of foreboding to even the most innocuous sequences. Dreamlike images of falling rain and acorns are contrasted by nightmarish reanimated animal corpses that speak directly to He. It must be stressed that the violence in this film is extreme, repulsive and unflinchingly filmed. The seriousness of the film makes the violence even more disturbing than similarly graphic depictions in movies like Hostel, which eases the discomfort with a ludicrous bordering on campy plot. The fact that my screening was prefaced by an announcement from theater management that the audience has to leave in the first half hour to receive a refund should give a pretty good indication of what to expect. I do not doubt any of the reports of fainting that are said to have occurred at Cannes when the film debuted.

It would be inconceivable to write about Antichrist and not mention the riveting performances of the leads. Both Charlotte Gainsbourg and William Dafoe deliver award worthy performances full of raw emotion (Gainsbourg has already won Best Actress at Cannes for this performance). With characters that experience everything from sexual ecstasy to gut wrenching torment it truly is a wonderful showcase for acting talents. Erotic and explicit love scenes combined with depression, despair and torture take the actors to places many wouldn’t be willing to go, but Gainbourg and Dafoe do so fearlessly. It is perhaps the most exposed, physically and emotionally, I can remember two actors ever being onscreen. Through the starkly poetic imagery of the setting to the visceral brutality of the action the performances ground the film in reality. Antichrist is a challenging film, but those who are willing to explore the depths of darkness in sinks to will appreciate its craftsmanship, beauty and through provocation.

9 the new animated feature from director Shane Acker based on his screenplay with Pamela Pettler and produced by Tim Burton is a new as new and exciting a film as any you’re likely to see this month. Assuming of course you want to see an animated film for grown-up about rag-dolls come to life, filled with philosophical musings and action sequences. Set in a bleak, post-apocalyptic future the dolls battles mechanical monsters and find salivation. In the process they learn about their own creation and the fate of humanity.

The movie opens with the titular #9 being stitched together, his wooden hands put in place and given binuclear lenses for vision. His creator soon collapses daead and little #9 wakes up distressed, confused and unable to speak. He grabs a small, gold disc and nervously heads out into the big world. He soon meets another like him the kindly, old inventor #2 (Martin Landau) who helps him find his voice, Elijah Wood’s voice to be exact. #2 is quickly dragged away by the Beat into forbidden lands and #9 finds himself in hiding with other like him ruled over by the stern #1. #9 convinces the affable #5 (John C. Reilly) to help him on a rescue mission into the forbidden zone where they meet the few remaining dolls.

Once the setup is in place 9 really takes off with thrilling action sequences and providing back-story for this universe. As they try and research the Beast and find a way to save their brethren the dolls learn about the fall of man and rise of machines. Similar to The Matrix the events are rather predictable. However, instead of the heavy handed Neo is Jesus treatment, 9 goes in a different direction to explore the essence of humanity and what will become of Earth after we are gone.

While I appreciate the sci-fi philosophy the real reason to go see 9 is the stunning visuals. Based on Acker’s 2006 Oscar winning animated short the world is at once adorable and terrifying. With darkened skies, towering ruins and ravishing machines our little puppet heroes are dwarfed by all the surrounds them. The dolls themselves are cute and very expressive in the same way the Wall-E managed to be, saying so much with so little to work with. I am regretful I wasn’t able to view it in 3D because the sprawling action would have been very effective in that format.

9 does have some problems, mainly that the dialogue isn’t as interesting as the implications of the plot could have allowed it to be. I also wasn’t incredibly fond of the Girl Power! she-warrior #7 voiced by Jennifer Connelly. I am all for female empowerment, but her character didn’t really have any flaws our vulnerabilities like the others and it was just sort of annoying. Those complaints don’t make for a bad movie, just highlight some wasted potential. There are many sequences that completely work, I was enthralled by the scene set to Somewhere Over the Rainbow that contrasted sunny skies with lurking menace. While 9 is not perfect I did really enjoy watching it as a slightly more intelligent pop-corn flick. And I for one hope it starts a trend in visually ambitious, intellectual animation for adults.