Antichrist Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

A couple makes passionate love in their Seattle, Washington apartment while their toddler, Nic, climbs up to the bedroom window and falls to his death. The mother collapses at the funeral, and spends the next month in the hospital crippled with a-typical grief. The father, a therapist, is skeptical of the psychiatric care she is receiving and takes it upon himself to treat her personally with psychotherapy. She reveals that her second greatest fear is nature, prompting him to try exposure therapy. They hike to their isolated cabin in a woods called Eden, where she spent time with Nic the previous summer while writing a thesis on gynocide. During the hike, he encounters a doe which shows no fear of him, and has a stillborn fawn hanging halfway out of her.

During sessions of psychotherapy, she becomes increasingly grief stricken and manic, often demanding forceful sex. The area becomes increasingly sinister to the man, including acorns rapidly pelting the metal roof, awakening with a hand covered in swollen ticks, and finding a self-disemboweling fox that tells him "chaos reigns."

In the dark attic the man finds the woman's thesis studies, which includes violent portraits of witch-hunts, and a scrapbook in which her writing becomes increasingly frantic and illegible. She reveals that while writing her thesis, she came to believe that all women are inherently evil. The man is repulsed by this and reproaches her for imbibing the gynocidal beliefs she had originally set out to criticize. In a frenzied moment, they have violent intercourse at the base of an ominous dead tree, where bodies are intertwined within the exposed roots. He suspects that Satan is her greatest hidden fear.

Upon viewing Nic's autopsy and photos she took of him while the two stayed at Eden, the man becomes aware that she had been systematically putting Nic's shoes on the wrong feet, resulting in a foot deformity. While in the woodshed, she attacks him, accuses him of planning to leave her, mounts him, and then smashes a large block of wood onto his groin, causing him to lose consciousness. The woman then masturbates the unconscious man, culminating in an ejaculation of blood. She drills a hole through his leg, bolting a heavy grindstone through the wound, and then tosses the wrench she used under the cabin. He awakens alone; unable to loosen the bolt, he hides by dragging himself into a deep foxhole at the base of the dead tree. Following the sound of a crow he has found buried alive in the hole, she locates him and attacks and mostly buries him with a shovel.

Night falls; now remorseful, she unburies him but cannot remember where the wrench is. She helps him back to the cabin, where she tells him she does "not yet" want to kill him, adding that "when the three beggars arrive someone must die." In a flashback, she recounts Nic climbing up to the window, but she does not act, thus displaying her perceived essential evil. In the cabin she cuts off her clitoris with scissors. The two are then visited by the crow, the deer, and the fox. A hailstorm begins; earlier it had been revealed that women accused of witchcraft had been known to have the power to summon hailstorms. When he finds the wrench under the cabin's floorboards, she attacks him with scissors, but he manages to unbolt the grindstone. Finally free, he attacks her and strangles her to death. He then burns her on a funeral pyre.

He limps from the cabin, eating wild berries, as the three diaphanous beggars look on. Reaching the top of a hill, under a brilliant light he sees hundreds of women in antiquated clothes coming towards him, their faces blurred.

Nature and religion

Film scholar Magdalena Zolkos interprets Antichrist as an "origins story," citing its unnamed characters and setting—a woods called Eden—as primary reasons. Zolkos's interpretation of the film aligns with that of scholar Joanne Bourke, who cites the film as a retelling of Abrahamic mythology "framed as a question." The couple's entrance into the woods and arrival at Eden "initiates a cinematic restaging of the myths of origins." The woman's statement made to her husband–that nature is "Satan's church"–suggests a "triadic nexus of nature, demonic force and the death of the child." Zolkos characterizes this nexus as being made of three "separate, psychic events: the inscrutable and threatening surroundings of the forest; her readings in the history of religious misogyny; and an accident when She loses the child in the woods a year before his death."

Zolkos also notes the film as a "story of parental loss and the mourning and despair that follows."

Depression and mental illness

While the film interweaves multiple themes in Zolkos's reading, she suggests that the film is fundamentally a "very personal and revealing film—interwoven with idioms and images that document von Trier's struggle with serious psychiatric disorder, and highly informed by his experience of cognitive behaviour and exposure therapy, shamanism and Jungian psychoanalysis." Von Trier himself commented on the experience of making the film as being a "fun" way of working through his own depression. Von Trier considers the film the first of his "Depression Trilogy," followed by Melancholia (2011) and Nymphomaniac (2013).

Scholar Amy Simmons notes that the film's aesthetic components "transcend categories, and as such, his work cannot be reduced to any one message." She considers the film a "genuinely radical and unflinching account of human relationships." Robert Sinnerbrink interprets the film (along with Melancholia and Nymphomaniac) as engaging with human responses to psychological trauma. He explains: "In each case, there is a central female protagonist whose melancholic responses to this central trauma open up a space of subjective but also aesthetic-expressive engagement...  In Antichrist, it is evident in the woman's intense anxiety and depressive withdrawal expressed through the neo-romantic landscape and supernaturalist elements of the forest to which she and her partner have retreated."

Casting

Willem Dafoe, who had previously worked with Lars von Trier in Manderlay (2005), was cast as "He" after contacting von Trier and asking what he was working on at the moment. He received the script for Antichrist, although he was told that von Trier's wife was skeptical about asking a renowned actor like Dafoe to do such an extreme role. Dafoe accepted the part, later explaining its appeal to him: "I think the dark stuff, the unspoken stuff is more potent for an actor. It's the stuff we don't talk about, so if you have the opportunity to apply yourself to that stuff in a playful, creative way, yes I'm attracted to it." The voice of the talking fox was also supplied by Dafoe, although the recording was heavily manipulated.

In casting the role of "She," actress Eva Green had been initially approached for the female lead. According to von Trier, Green was determined to appear in the film, but her agents refused to allow her. The unsuccessful casting attempt took two months of the pre-production process. Eventually, Charlotte Gainsbourg expressed interest in the role, and by von Trier's words she was very eager to get cast: "Charlotte came in and said, 'I'm dying to get the part no matter what.' So I think it was a decision she made very early and she stuck to it. We had no problems whatsoever." Gainsbourg recalled upon first meeting von Trier that she had "known his films," but knew "very little about the man himself," and noted his presence as being "filled with anxiety" upon their first meeting. She also initially expressed worry over the film's more emotional sequences, particularly surrounding her character's panic attacks and anxiety, as they were not things she had experienced in her own life.

In the role of Nic, the child of the unnamed couple, Storm Acheche Sahlstrøm was cast.

Development

Von Trier began writing Antichrist in 2006 while being hospitalised for depression. Von Trier conceived the film as a horror film, as he felt it allowed for "a lot of very, very strange images." He had recently seen several contemporary Japanese horror films such as Ring and Dark Water, from which he drew inspiration. Another basic idea came from a documentary von Trier saw about the original forests of Europe. In the documentary the forests were portrayed as a place of great pain and suffering as the different species tried to kill and eat each other. Von Trier was fascinated by the contrast between this and the view of nature as a romantic and peaceful place. Von Trier said: "At the same time that we hang it on our walls over the fireplace or whatever, it represents pure Hell." In retrospect he s