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Paragraph 175 (2000)
10/10
History is after all, a study of human consciousness in guilt.
25 October 2009
Probably history was after all, meant to be a study of human consciousness in guilt. Of course, there is always a need to realize something valuable out of the past, that a study about the past is after all a human being's reverse-troubleshooting guide. Probably that's the reason why there are beautiful pictures of stoic, stiff-lipped people in our high school history text-books. We like to think of ourselves as the descendants of glorious generations, men and women valiant in their own right, contributing their bit to the proud bloodlines we carry today. We read on these people, associate ourselves with the affairs of their lives, judge them for their actions, name calendar days after them, hate them, worship them, write books on them, film biopics on their lives, name our babies after them… The reason we can't forget these people could be because they've either given to or taken from this world in proportions far greater than what you or me have.

Between the years 1933 and 1945 one man changed our world because he believed in something that seemed stupid at first. As time rolled into horror-fest mode, it turned into mankind's worst ever mistake. Something that psychologically stopped time and spun it backwards. We remember that man either because he took away from this world a chunk of our moral fiber, the scars forever etched in our minds, or probably because he gave this world freedom from the ideologies of mankind's vilest prodigy when he hanged himself.

Today, history attests the importance of this period of madness with facts and figures that might seem absurdly horrible for our generation. We've all probably read enough to forget about a past like this. Biopics and documentaries have already dry-choked our tear glands at the horrifying experiences recounted by Jewish survivors. Pictures of gas chambers and mass-graves have already made us numb. And just when we thought that we knew too much to burden our consciences, comes a movie about this small group of men who disappeared off the face of the earth because of something that disturbs, intrigues and thwarts us till this day: Love, and all the stigma it carries. And for something so simple and subtle as love to take place between two people, there lies an even more absurd reasoning as to why the two people shouldn't be of the same sex. That's the Nazi regime's code of stigma, also known as Paragraph 175. And no, your fat, dog-eared history text book does not consider the lives of one hundred thousand men who lived during that time, loving others… worth mentioning. These men died unnoticed and in secret captivity, so secret that even those labor camps within which they died are today not preserved for posterity. Few of those numerous men survived. Fewer live today. And fewer still are willing to come out of their dark closets of tears and share their experiences, unscripted and undistorted to a camera crew determined to make known to us such a vital, forgotten part of man's history.

It's pretty obvious what the contents of Paragraph 175 of the German Criminal Code contained, judging by the number of innocent lives it consumed, it would be more appropriate if you'd watch the movie and learn rather than have me explain it to you in a website review. What's most unsettling is interestingly, not Paragraph 175 itself, considering the circumstances under which it took form. Rather, it's the fact that a law that was so fatal took a hundred and twenty three years from the time it was adopted in 1871, to be finally revoked in 1994. Even after the fall of Hitler in 1945, it still took close to fifty whole years and six amendments to finally strike it down.

Nazis killed plenty of men, women and children. You certainly wouldn't expect the most powerful and conservative army in the world to go soft against gay men and women and suddenly endorse mutual love. Not at a time when your first-duty towards the people you love was replaced by the pride of the country. So in short, Nazis did what Nazis do best: kill. But, even after we thought the horrible era of an insane ideology was over and done with, heads of government still remained conservative and chose to ignore the ills of their pasts, dragging their feet through the marshes of sludge-bureaucracy.

Rob Epstein conveys all of these truths with anger and emotion, throughout while interviewing these survivors. Some, among them is a half-Jewish gay resistance fighter who posed as a Hitler Youth member to rescue his lover from a Gestapo transfer camp in an ultimately futile effort; Annette Eick, the Jewish lesbian who escaped to England with the help of a woman she loved; the German Christian photographer who was arrested and imprisoned for homosexuality, then joined the army on his release because he "wanted to be with men" and Pierre Seel, the French Alsatian teenager, who watched as his lover was eaten alive by dogs in the camps.

The statistics are staggering: Between 1933 and 1945, some 100,000 men were arrested for homosexuality, roughly half of them were sentenced to prison, and from 10,000 to 15,000 were sent to concentration camps. The camps were used for re-education, slave labor, castration and sadistic medical experiments. It's believed only about 4,000 survived their ordeal. It is interesting to note that the penal code didn't cover lesbians. The Nazis considered lesbians to be "curable." Women were regarded, as vessels of motherhood – increasing the German population was top priority – therefore, they were exempt from mass arrest. Most lesbians went into exile or quietly married gay men.

There are only about 10 homosexuals left from this tragedy, and they interviewed eight for this special film. It was incredible and moving and, if you are not touched by their stories, then you are cast in stone.
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Antichrist (2009)
8/10
Gorgeous, cinematic havoc
22 September 2009
Warning: Spoilers
Why do we watch Lars Von Trier's movies? We know for a fact that Lars never compromises for our sake. We know by experience that Lars's films can affect our minds in ways that could leverage psychosis. We even know, while watching his overture-style openings that we might very soon be led down a rabbit-hole of despair and psychotic agony. Why oh why then do we keep coming back to you for more, Lars? Is it because we love the way you taunt us? Or maybe the methodical step-by-step destabilization of our feelings feels sublime when witnessed by us through your lens. Could be so. Or perhaps our sub-conscious mind reaches out to yours through your gorgeous nightmares, your meticulous graffiti that toys with the basic boundaries of our perceptions, walled by our emotions. You first chip away at our instincts. Then you hack away at the emotions beneath them. You expose that vulnerable side of our sensibility; drag it out onto the dirt, beat it into putty and then use it as a palette for your mad, beautiful visions of despair. And Lars, damn you, you enigmatic bastard, you've just done it again. I'm awed.

For those new to the artistic vision of this Danish genius, most of the reviews that this movie (or any of Lars' for that matter) is generating could be well…. misleading could be an understatement. Lars Von Trier's movies are meant to provoke and taunt you. Subtlety is a sin. Emotions of the most powerfully affecting nature are stripped off all cinematic sentimentality and thrown at you. You simply HAVE to involve yourself with his films. Probably the reason why his movies are best watched in seclusion. You'd either love his movies to the point where it gets so personal that an off hand remark by someone else could leave you completely unhinged, or yes.. turn violent, find a gun (or buy one) and shoot that screen in front of you. Average reviews in this regard could very well be considered impossible, or even stupid.

So bare is the essence of Antichrist that Lars Von Trier carries the whole movie solely (and literally) on his modern anti-theological versions of Adam, Eve and Eden. We see them locked in passionate intimacy while their child dies (this, being filmed in a brilliant five minute black & white sequence that redefines cinematography). We also see them do unimaginable and inconceivable things to each other; things that could make us question the very essence of their sanity. Yet in my opinion, I've never seen a screen couple that could emote so much love and so much grief. Charlotte Gainsborough and Williem Dafoe literally carry the movie on themselves and their brilliant body language. I'm at a loss for words to laud these brilliant actors, especially Charlotte.

Lars Von Trier usually bases his work around a focal suffering female character. Charlotte is the grieving mother of a dead child who falls to its death at exactly the same moment when she's in the throes of ecstasy with her husband. She firmly attachés herself to the belief that she is somehow responsible for her child's death. Her intense grief turns her despair upon herself. Her therapist-husband convinces her against taking medication, claiming that the doctors just want to keep her drugged. Grief is not a disease, he tells her. He then takes it upon himself to help his wife. Ethical questions are raised here in the form of His monstrous ego. He seeks out her fears through a series of psychic sessions and constructs a fear-pyramid. She reveals to him that she has nightmares about their forest cabin, the reason for which unfolds later. In an act of "confronting one's fear" He decides to bring her to the woods and treat her. This is where nature comes in. It takes over both of them and wreaks havoc on both of their fears and perversions.

Towards the final chapter of the movie, we see that the cycle of nature is complete in its reprisal of its role as Eden. Instead of Adam and Eve discovering evil, by consuming the fruit of Eden, Eden brings about evil by consuming the fears of him and her. This is where many critics have argued about the misogynistic attitude of the film. It's actually the opposite. The female character simply embraces the evil that she believes women are capable of, seeming to reiterate the prejudices of the material she's been researching.

In the epilogue, we see Him consuming berries while a horde of faceless women climb up, towards him. The scene could be interpreted in a dozen ways, depending on the way you look at the film as a whole. For example, why use black and white for the prologue and epilogue? Why does a fox wear a bell? Who are the other women? Are they moving past Him or converging on him? The questions, if posted here could only spoil the movie for those who haven't watched it.

Of course, my interpretation of the movie could be wrong. Von Trier himself states in this interview that the work on the script did not follow his usual modus operandi. Scenes were added for no reason. Images were composed free of logic or dramatic thinking. They often came from dreams he was having at the time (of his depression), or dreams he'd had earlier in his life.

Lars Von Trier along with his cinematographer, Anthony Dod Mantle (Slumdog Millionaire) has created a surreal, shocking masterpiece of art. I've said the same thing about Dancer in the Dark, and I'll say it again for Antichrist: It's a profoundly beautiful film. It is unfathomable to me that anything else will wreak such transcendent cinematic havoc for a long time to come. And if there is indeed a wreak, there is no seemingly capable person to do it other that Lars himself.
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The Child (2005)
7/10
Real, yet predictable..
16 September 2006
Warning: Spoilers
I saw the movie plainly out of curiosity of what would the Palm d'Or be awarded to this one. I was not disappointed. This movie never for once deviated from the focal point of the too simple story. The levels of poverty shown in the movie only strengthen the plot. However there is no other Palm d'Or awardee which is so predictable like this one. I guessed the ending only seven minutes into the movie, too late i guess.. The title says it all. Its not the baby. Its the babies. Bruno, who seems so nonchalant and casual while he sells his own baby to adoption, does look real stupid, wondering what wrong did he do while he's at the hospital with his girlfriend. But yes, i'd rather prefer "rosetta" to this movie. The total absence of any music, (even in a Belgian bar?) also adds to the gloomy, dull atmosphere in this movie. You need patience, lots of it for this one.
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