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Lars von Trier: "I like to go to the threshold of pain."© Katharina SartenaLars von Trier: "I like to go to the threshold of pain."© Katharina Sartena
Uma Thurman does not have a lot of time: as soon as she gets into the car of serial killer Jack (Matt Dillon), he pulls her an iron jack over which she does not survive. The following are scenes of cruel brutality. The bads of a woman are cut, a quadruple murder of children is shown explicitly, so directly that many spectators left the room at the premiere in Cannes. As if Lars von Trier even wanted to beat Michael Hanke's "Funny Games".
This is the new film by the outstanding Danish director. He calls himself "The House Jack Built" and describes, from the perspective of the eponymous serial killer, a variety of strengths from orgies. Jack is already on the conscience of 60 dead, he now tells a longtime counterpart (Bruno Ganz) – a confessional situation that Lars von Trier has already established in "Nymphomaniac" when he had Charlotte Gainsbourg report on their badual abyss and Stellan Skarsgard listened. Von Trier quotes in his new film a self always incessant and shameless, with attitudes already seen or similar. It's like the sum of all the films that Lars von Trier has ever made, like the sum of all the abysses that he and his audience have ever considered.
The point of cruelty
Matt Dillon as a serial killer Jack.© movie storeMatt Dillon as a serial killer Jack.© movie store
A self-portrait film of its creator then? "A movie about a naughty man", the director calls his work, and yes, it's true; "The house built by Jack" effortlessly climbs to the top of the atrocities committed by the Danes. Is it above all the filmmaker's psyche that wants to be cured? Or is it especially the desire for an absolute provocation behind this?
Lars von Trier is perhaps the best to meet expectations (and disappoint him) and still emotionally load his new projects so that he hangs. At the film evening of von Trier's "Antichrist" (2009), no DJ was playing music, but only the deeply ingrained soundscapes of discomfort that also dominated the film. A cinematic experience that has gone beyond the film. Wohlfühlkino does not want to be so, the categorisations are doomed to failure because of the work of Trier because they are just too brief. The best way to say it this way: his films are incidents of world cinema. They seek confrontation with their viewers, they never fear the scandal, the turmoil and the taboo break. It is not easy to break taboos today; Lars von Trier manages to do it with each of his films.
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