House That Jack Built

V'18

The House That Jack Built

Lars von Trier
DK/S/F/D, 2018
Features, 155min, eOmdU

© Viennale © Viennale © Viennale

The House That Jack Built

Lars von Trier
DK/S/F/D, 2018
Features, 155min, eOmdU

Mit: 
Matt Dillon
Jack
Bruno Ganz
Verge
Uma Thurman
Lady 1
Siobhan Fallon Hogan
Lady 2
Sofie Gråbøl
Lady 3
Drehbuch: 
Lars von Trier
Ton: 
Kristian Eidnes Andersen
Kamera: 
Manuel Alberto Claro
Schnitt: 
Molly Marlene Stensgaard
Musik: 
Victor Reyes
Ausstattung: 
Simone Grau

Produktion: 
Zentropa Entertainments, Zentropa Schweden, Slot Machine, Zentropa France, Zentropa Köln
Weltvertrieb: 
Trust Nordisc
Verleih in Österreich: 
Filmladen
Format: 
DCP
Farbe

Auch in seinem aktuellen Werk nimmt Lars von Trier keine Gefangenen. Diesmal schickt er Matt Dillon als unterkühlten Serienkiller los, der es auf Tiere, Kinder und Frauen abgesehen hat, aber nicht nur. Fünf „Zwischenfälle“ aus der Laufbahn eines Mörders – wobei die Mittel des ewigen Provokateurs so drastisch sind wie eh und je. Der Humor reicht oft ins finster Groteske und die (mitunter tabubrechende) Gewalt ist schmerzhaft explizit, während Von Trier in ideenreicher, sadomasochistischer Selbsttherapie einmal mehr seine eigenen Dämonen adressiert. Ein ebenso anstrengender wie absorbierender Film-Aufreger. (Sascha Rettig)

 

Two voices from the dark, two men in conversation on the way to the other side: That is the basic premise for Lars von Trier’s THE HOUSE THAT JACK BUILT. Jack is a serial killer, a psychopath and a narcissist with a knack for aesthetic theory. He tells about his work in a series of flashbacks, each concerning “incidents” from his bizarre spell of killings. The man on the listening end in this morality play is called Verge, as in “on the verge”, supposedly, even if there are hints on the Roman poet Vergil – who was of course the guide in Dante’s “The Divine Comedy”. This visionary text is the main inspiration for THE HOUSE THAT JACK BUILT: the deeds of Jack may be extremely hard to stomach, but there is something like accountability, even if it is aesthetical in its own way. Tellingly not only the atrocities of Jack are flashbacks, there are also glimpses of prior works by Lars von Trier, which makes THE HOUSE THAT JACK BUILT a summary of his own creations. And somehow the most repulsive of his movies becomes also his most consoling. The hell of psychopathology is not the last word. The last word is an image resonant of concepts (and images) of humanity: knowing the difference between good and evil. (Bert Rebhandl)

Lars von Trier: EPIDEMIC (1987), MEDEA (1988), EUROPA (1991), BREAKING THE WAVES (1996), IDIOTERNE (1998), DANCER IN THE DARK (2000), D-DAG – DEN FÆRDIGE FILM (2001), DOGVILLE (2003), MANDERLAY (2004), ANTICHRIST (2009), MELANCHOLIA (2011), NYMPHOMANIAC: VOL. I & II (2013)