It started with laughter and ended with a round of applause. No, this was not a comedy show, but it sure felt like one. This was the screening for the director’s cut of Lars Von Trier’s newest piece of controversy, The House That Jack Built. For two-and-a-half hours, von Trier showcased his latest experiment in misogyny, violence, and stroking his own ego.
The House That Jack Built marks von Trier’s return to filmmaking after being banned from Cannes in 2011 for making comments about sympathizing with Hitler. His newest film documents 12 years in the life of Jack, played by Matt Dillon, and the five incidents that he believes have defined him as a serial killer, as recounted to Verge (Bruno Ganz). These five incidents involve the brutal murder and mutilation of female bodies, save for the last incident. To Jack, these murders are an act of high art, markers of his own intelligence — what he’s doing is not wrong because it is in the name of art. The film follows a Dante-like structure as we traverse through the different incidents like the circles of hell, and perhaps even wander into hell itself.
Continue reading “In His Most Self Aware Film Yet, Lars Von Trier Proves He Still Doesn’t Care About Women”
Jeremy Saulnier is known for violence, from his 2013 film Blue Ruin to 2015’s Green Room. His films are relentless, bloody, and exhausting. But his most recent film is another creature entirely. Hold the Dark, released on Netflix, is a slower, quieter meditation on violence that explodes into something weird and fascinating. It appears to be a simple man versus nature tale, but becomes a story motivated by revenge and a deranged sense of justice.
Hold the Dark, based on William Giraldi’s novel of the same name, follows wolf lover and author Russell Core (Jeffrey Wright) as he travels to Alaska. Why Alaska? He receives a strange letter from Medora Slone (Riley Keough) about a wolf who took her child away. It is a strange, almost cryptic letter, but Core still decides to help the grieving woman before her husband, Vernon (Alexander Skarsgard), returns from war. What Core finds in the Alaska village of Keelut is something much bigger than a hungry wolf. He finds grief, anger, frustration, and vengeance.
Keough delivers a chilling and unsettling performance as grieving Medora. She sets the tone from the very start as her low voice reads her letter to Core. Sadly, she disappears too soon into the film. I found myself missing her unnerving stare and strange sayings. However, Skarsgard delivers on the unnerving stares. He is absolutely terrifying in this film, despite barely saying a word. He is a silent force, stalking the cold Alaskan night with a gun and crossbow.
The setting of Hold the Dark is central to the film’s meditation on violence and pain. The Alaskan wilderness is harsh and freezing. It is wild, relentless and doesn’t care about a human’s need for heat. The humans that call it home are reflecting the natural world in their own actions. The vastness of the wilderness, and what it holds, is just as terrifying as human’s capacity for violence. Continue reading “Searching for Justice in ‘Hold The Dark’”
If there’s any film that defines the paranoid, conspiracy theory-obsessed times we live in — where groups of thousands of faceless identities believe Kubrick faked the Moon landing, the Illuminati controls the world, and Beyonce is a lizard — it may just be David Robert Mitchell’s Under the Silver Lake. The follow-up to the wildly successful It Follows is a delirious head-spin into the seedy underground of Los Angeles; a baffling acid-trip of imagery attacking you from all angles. It emulates the LA-set noirs that are more successful in their execution like Mulholland Drive, but the film still has something new to add the table — some would say too much, but you can’t fault it for its ambition.
Continue reading “Cannes 2018 Review: ‘Under the Silver Lake’”