AcquisitionThis year, in presenting Antichrist, the NYFF showcased some of the most beautiful footage ever to originate from a Red Digital Cinema Red One camera. To the lamentations of a Händel aria, Antichrist opens with a black and white prologue of lovemaking in the shower, cross-cut with a sequence of the couple’s young child making his way to an open window high about the street. Gut-wrenching for any parent (and I am one) to contemplate.
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After the foreboding prologue, Antichrist switches to color, a palette that’s pallid and shallow, with mists and fogs shrouding every landscape. ... but Von Trier and Mantle have collaborated on surreal images that echo scenes of damnation in Hieronymus Bosch, black horror in Goya, tangled limbs in death camps, and Spencer Tunick’s naked crowds.
They’ve done this by achieving exquisite control of lighting within the limits of the Red One’s digital capture—avoiding burnt highlights, for one—while extending artistic control into postproduction by ...
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