Jack's house: The provocateur as a museum piece | Culture

For Lars von Trier, P. T. Barnum of auteur cinema, the human being is a mirror that reflects the two conflicting realms of Christian cosmology: Heaven and Hell. Or soul and body. Jack's house He maintains that, under his chain of radical experimentation, the Danish filmography has always been at the service of a single and obsessive theme: the close unity between Good and Evil. It is not by chance that, at the end of each chapter of his series The Kingdom (1994-97), the filmmaker, forradito of filohitchcockiana irony-he came to present himself as "the humble Lars von Trier"-, dismiss the spectators referring to that false moral dialectic that, in this clear stage of creative recapitulation that culminates here, has also inspired the title -Lars von Trier The Good with the Evil- of the exhibition around his work that inaugurated the Museum of Art and Visual Culture Brandts de Odense in November 2017.


Address: Lars von Trier

Interpreters: Matt Dillon, Uma Thurman, Bruno Ganz, Jeremy Davies.

Gender: thriller. Denmark, 2018

Duration: 152 minutes

Lars von Trier is already a museum piece. The film can be interpreted as the sonorous lament of those who aspired to the Louvre and had to settle for the Saatchi Gallery. Jack's house It takes the form of a confession at the gates of Hell: a discourse that at times strikes the narcissistic apology to culminate in fierce settling of accounts with those who have not known how to value the brilliant architecture that sustains a misunderstood work. Jack, the psychokiller incarnated with icy authority by Matt Dillon, it functions as the counterpart of a Lars von Trier intoxicated by fantasy, a little adolescent, of diluting the boundaries between art and crime.

Held on sequences of unquestionable force-the hunting of the family, the episode of Uma Thurman-the film ends up being the slave of a formula-transgressive discourse + comprehensive interlocutor + culteran interludes-that the director had already applied masterfully in the diptych Nymphomaniac (2013). The tone is black comedy and everything points to a closing cycle, but the film does not earn a place in the hell of the perverse, but a season in the purgatory of the redundant.


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