Art as Inheritance, part 3: Reverse Chronology

I’ve been doing some research into reverse chronology (for the follow-up to my post “From ‘Doom House’ to ‘Mood House'”), and I thought I’d compile the results here.

Reverse chronology is probably as old as narration itself. Once one has the idea of telling a story forward, it’s a simple enough matter to tell it backwards:

There was an old lady who swallowed a cow.
I don’t know how she swallowed a cow!
She swallowed the cow to catch the goat…
She swallowed the goat to catch the dog…
She swallowed the dog to catch the cat…
She swallowed the cat to catch the bird …
She swallowed the bird to catch the spider
That wiggled and wiggled and tickled inside her.
She swallowed the spider to catch the fly.
But I dunno why she swallowed that fly
Perhaps she’ll die.

How far back does this idea go?

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Lars von Trier’s Slippery, Sloppy Antichrist

antichrist

Lars has made some very good movies in his time. Breaking the Waves, Dancer in the Dark and Dogville are all examples of exciting, provocative cinema. And now comes this–thing.

I’m very mixed about this motion picture. Not torn up, not oozing, like after Eyes Wide Shut. There are some beautiful images in this film, the black and white prologue showing an erect penis going into a vagina has to be one of the most gorgeous shots of the sex act I’ve ever seen. The unnamed couple, Willem Dafoe and Charlotte Gainsbourg, then spend the next hour of the movie talking out their grief (mainly hers) after their young son fell out a window and died while they were in the throes of sex during the prologue. The film goes to color and it becomes a weird incarnation of therapist and patient (Dafoe plays an actual therapist). This interplay continues even as the couple goes to a cabin in the woods, their “Eden.” After a few days there, Gainsbourg says she is cured, but Dafoe does not believe her and continues trying to help her breathe, “Five, four, three…”

At times a David Lynchesque soundtrack comes on signaling something weird is going to happen. (Having just seen Inland Empire and being a fan of Blue Velvet, this touch seemed off-putting, as did Gainsbourg’s request to have Dafoe hit her during sex–another obvious borrowing from Blue Velvet.) The weird happenings are somewhat interesting–a deer running with a dead foetus stuck to its behind, a fox that is eating itself and then speaks English to a seemingly reserved Dafoe. He is the only one having these visions (if they are visions). Then, in the attic of the cabin, Dafoe finds Gainsbourg’s notes for a thesis (called Gynocide) she had been writing that doesn’t come to fruition, (film is fuzzy concerning whether it is finished). Arcane pictures, woodcuts in the manner of Dürer, and three never before heard of constellations in the sky called the Three Beggars–a deer, a fox and a crow (don’t worry the crow is coming).

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