I write reviews sometimes.
I’ve been on Letterboxd since May 2020, but only started logging films regularly since January 2021.
This is just too much. It’s rare for a film to give me such intense physical reactions that I feel nauseous, teary-eyed and get a headache all at once. Perhaps the extent in which Antichrist troubled me could be seen as a success for Lars von Trier and this film; he knows what he is doing and he knows what kind of reaction he wants to summon from his audience. I respect him as a filmmaker for that.
Gradually I have become more confident in the belief that the intentions of a filmmaker are unimportant when a film can be interpreted very differently by a multitude of people. I’m not interested in what Lars von Trier’s intentions were when making this film. To me, and most likely many others, this comes across as more of a demonisation of the working class than a criticism of the belief in American Dream
Such heavy symbolism and unconventional approaches to filmmaking…
The endless amount of interpretations one can conjure up from this film is what makes me love Midsommar so much. This film is a masterpiece of horror all the way from its cinematography to its multitude of layers of symbolism and foreshadowing.
At first, Ari Aster’s use of foreshadowing through the form of art seems so subtle and cryptic that it’s as if it simply blends in with the rest of the mysterious components that make up this film. However, these…
Despite its 132 minute runtime, I was incapable of feeling a single emotion from beginning to end. The first 20 minutes were intriguing but afterwards it gradually became inaccessible. The moment the film truly lost me, however, was its first occurrence of cheap lines on socialism. It was merely champagne socialism hiding behind a facade of democratic socialism, or even welfare capitalism, that confuses itself with actual socialism. Herman J. Mankiewicz is certainly an interesting figure and I don’t think…