Antichrist (film)

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Movie
German title Antichrist
Original title Antichrist
Country of production Denmark , Germany , France , Sweden , Italy , Poland
original language English
Publishing year 2009
length 104 minutes
Age rating FSK 18
Rod
Director Lars from Trier
script Lars from Trier
production Meta Louise Foldager
camera Anthony Dod Mantle
cut Åsa Mossberg ,
Anders Refn
occupation

Antichrist is a feature film by the Danish director Lars von Trier from 2009 . The psychological thriller with elements of the horror film is about a grieving couple. After the death of their son, the husband tries as a therapist to support his wife in the grief work. To do this, they go to the remote hut in the forest (Eden), which scares them. The situation between man and woman escalates increasingly and finally culminates in a bloody finale. The film came under fire for its explicit portrayal of sexuality and violence; he was also criticized as misogynistic and gained the reputation of a scandalous film .

Antichrist premiered in competition at the 62nd Cannes Film Festival and opened in Danish cinemas on May 20, 2009. The cinema release in Germany and Switzerland was on September 10th, 2009 and in Austria on November 5th, 2009. The film is dedicated to the Russian filmmaker Andrej Tarkowski .

action

While a nameless couple from Seattle are passionate about sex in the bathroom, their son Nic, who had been watching them, falls out of the window. The death of the son pulls the mother into deep grief and self-reproach and she suffers a nervous breakdown. Her husband, who is himself a psychologist, then begins to treat his wife in a form of exposure therapy. Tensions arise between the couple, caused on the one hand by the unconditional will of the man to heal his wife, on the other hand by the despair and fears of the woman. The man decides to take her to the Eden forest hut, where she stayed with her son the previous summer, to devote herself to her dissertation on witch hunt. Although he knows that he is too involved himself to provide his wife with optimal therapeutic help, he does not want to abandon his wife.

The nature around the hut arouses anxiety especially in women. She fears touching the grass, at night acorns patter incessantly on the roof of the hut, in the morning blood-sucking ticks sit on the man's hand, and in the forest he also encounters a deer with a stillbirth and a fox that devours itself. Over time, the constitution of women changes: with the help of her husband, she puts aside her fear of nature, but becomes increasingly irritable and rejecting her husband. While rummaging through the hut, the man in the attic finds the unfinished doctoral thesis on witch persecution and feminicide, along with depictions of the torture , mutilation and burning of women. When the man asks the woman about his find, she confesses in confused words that she thinks all women are fundamentally evil. By chance, the man also realizes that his wife physically abused her son who had died in an accident last summer in Eden by putting his shoes the wrong way round and thus deforming his feet.

The couple's rift culminates in the fact that she knocks him down during sexual intercourse and smashes his testicles with a block of wood, so that he faints. When she noticed that his erection persisted even though he passed out, she masturbated him until he ejaculated blood. She also drills an iron bar with an attached grinding wheel into his lower leg and then throws away the wrench used for this purpose .

The man later tries to escape, but this is hopeless due to his leg restraints. He hides from his wife in a burrow where a crow betrays him with a loud croak. His wife spots him and hits him with a spade; Hours later, ruefully and sobbing, she digs up the buried husband and brings him back to the hut. There the man asks her if she wants to kill him. “Not yet,” replies his wife, but the appearance of the “Three Beggars” is imminent, which would mean the death of a person. In a flashback, we learn that while having sex with her husband, the woman saw her son climb out of the window, but did nothing. Finally she cuts off her clitoris with scissors after a last attempt at seduction fails because of the man's exhaustion.

During the night the deer, the fox and finally the crow (the three beggars ) arrive at the hut. Under the floor of the hut the man hears the crow croaking again and then finds the wrench under the floorboards. He frantically begins to loosen the bar from his leg. Meanwhile the woman grabs the scissors, stabs him in the back and steals the wrench. With enormous pain, he tears the iron from his leg and then strangles his wife. Then he burns her body on a stake in front of the hut and escapes from the place.

In the epilogue you see the man in the morning sun with a crutch hike up the summer hill in front of the hut. He meets the three animals resting peacefully in the grass again. When he turned around, he saw innumerable faceless women pouring towards him from all sides of the hill.

production

Director Lars von Trier 2000

Development of the script

The production of Antichrist was originally scheduled for 2005. However, Peter Aalbæk Jensen , the executive producer , inadvertently announced the planned end, so Lars von Trier postponed the start of shooting in order to be able to rewrite the script.

In 2007 von Trier announced that he was suffering from depression and that he might never be able to make a film again. He told the Danish newspaper Politiken : “I assume that Antichrist will be my next film. But at the moment I can't say for sure. ”During an early casting for Antichrist , the applicants had to be sent home because von Trier was unable to see them. Von Trier emphasized that for him, working on the script was mainly about whether he could make films again after his depression. At the same time, however, this experience also enabled him to work more freely and approach the film less analytically. The director also drew parallels to August Strindberg's inferno crisis , which he felt reminded of while working on Antichrist . Anders Thomas Jensen was originally also involved in the script, but his name did not appear in the later credits and is not mentioned in the credits.

financing

The budget of the film was around 11 million US dollars , of which Det Danske Filminstitut raised 1.5 million, the Filmstiftung Nordrhein-Westfalen contributed 1.3 million. In addition to von Trier's own production company , Zentropa , Film i Väst , Lucky Red , Liberator Productions , Slot Machine, ZDF , Canal + , Deutscher Filmförderfonds (DFFF), Nordisk Film & TV Fond , CNC and ARTE France acted as donors . International distribution was taken over by TrustNordisk .

occupation

Willem Dafoe had already worked with von Trier in Manderlay .

In the run-up to the shooting, von Trier originally intended Eva Green for the female lead. The negotiations with her agency dragged on for two months. However, a collaboration did not materialize, for which the director blamed Green's agency. Finally von Trier decided on Charlotte Gainsbourg , about whom he later said: “She is fantastic, a present for the film. The first thing she said at the casting was, 'I shouldn't be telling this now, but I would die for the role.' That's what you want. "

Charlotte Gainsbourg was not originally the first choice for the female lead, but von Trier won over her with her enthusiasm for the subject.

In 2008, Willem Dafoe emailed von Trier: He didn't have any appointments for autumn and wanted to know whether the director had any work for him. Dafoe and von Trier had already worked together for the film Manderlay in 2005 , but von Trier originally had a different cast in mind: “I actually only imagined much younger people […]. But back then, to be honest, I had little energy for the search. I felt too bad. That's why I was very happy when Willem Dafoe suddenly wrote me an email. "

Dafoe later commented on his engagement as follows: “He said Bent [sic; Bente Froge, von Trier's wife] was of the opinion that I shouldn't do it. Maybe because it's so extreme. When you read that, all the violence and the sex ... it just assumed that an American actor who has starred in big films doesn't want that role. "Looking back, he said," I think the dark, the unspoken is more promising for an actor. It's what we're not talking about, so when you have the opportunity to approach it in a playful, creative way, yes, that excites me. "

In preparation for filming, the two main actors Charlotte Gainsbourg and Willem Dafoe were shown Andrei Tarkowski's drama Der Spiegel (1975). Gainsbourg also studied Charlotte Ramping's role in Der Nachtportier (1974), while Dafoe also saw von Trier's own film Idiots (1998) to learn how the penetration scenes of the film would be edited. In addition, Dafoe found out about psychology and exposure therapy for his role , for which von Trier provided him with behavioral therapists from Columbia University .

The animals appearing in the film were trained accordingly in a Czech training camp and then flown to the location in Germany.

Filming and post production

Most of the recordings for Antichrist were shot at Eitorf in Siegtal.

With Antichrist , Lars von Trier made a film entirely in Germany for the first time. The forest scenes were filmed in the Rhein-Sieg district , in the forests around Eitorf in the Siegtal . Gut Heckenhof served the team as accommodation. Additional shoots took place in Cologne and Wuppertal ; The shooting lasted 40 days, from August 20th to September 29th.

The recordings were mostly with Red-One - Digital cameras instead, for those in slow motion running opening sequence a specially designed for such recordings camera was used with a frame rate of 1,000 frames per second. The sound system used for Antichrist was Dolby Digital 5.1 . In contrast to previous film projects, von Trier did not see himself in a position to operate the camera because of his depression. His constitution did not allow him to take the pictures without trembling, so the British Anthony Dod Mantle took over the camera work. The director regretted this fact:

“It didn't work, that was really stupid. When I use the camera, I can communicate differently with the actors, I'm in the middle of the situation instead of behind a monitor. [...] Hopefully I'll recover enough to be able to participate more in the next film. It was really humiliating not to be physically able to do it this time. "

- Lars von Trier

Bodydoubles were available for Dafoe and Gainsbourg , which were used, among other things, for the penetration scene of the prologue and later close-ups of sex scenes. These were professional porn actors who von Trier mainly used to protect the actors' privacy and to avoid the sex scenes from distracting too much from the actual film. Nevertheless, Gainsbourg asked von Trier not to have to play too many scenes undressed and at least to be allowed to cover the upper body.

The props for the film were made by Soda AsP in Nørrebro , Copenhagen . Plaster casts were made of Dafoe's lower legs and the genitals of the body doubles , from which dummies were then made. In the scene in which the man ejaculates blood , the penis of Dafoe's body double can be seen, the blood is colored sugar syrup. The dummy vulva was built from two parts. This enabled the labia minora to be replaced in the event that the exposure had failed. In fact, this scene was shot five times.
For the entrance scene, Soda AsP made a lifelike baby doll with authentic weight that was thrown out the window. A dead fawn was also modeled using a nylon stocking as an amniotic sac .

Computer animation was used for a total of 80 takes of the film , for which Platige Image from Poland was responsible. In most cases the technique was used to retouch the collars and leashes of the animals, but also for the scene with the talking fox. For this purpose, a 3D model of the entire fox's face had to be created, with the exception of the ears and eyes, which was then animated synchronously with the words of the fox. The digital post-processing of the film sequences was done by Anthony Dod Mantle and Stefan Ciupek . For the color grading of the pictures, previously rotated settings were combined to create pictures with the character of paintings.

publication

The film premiered on May 18, 2009 at the 62nd Cannes Film Festival , where Antichrist was represented in the competition for the Palme d' Or. At the press conference for the film, von Trier boasted as “the best director in the world”, even if he did not consider Antichrist to be his best film.

style

dramaturgy

Von Trier divided Antichrist into four chapters: Mourning , Pain , Despair and The Three Beggars, as well as a prologue and an epilogue. The prologue and epilogue form the beginning and end of the film, the actual action takes place in the four chapters.

While the film initially revolves around the figure of the woman and her grief, the journey into the forest brings nature and her essence into focus. The hostile, unreal side of nature is particularly emphasized and associated with the couple's fate, for example through the stillbirth of the deer or a chick that falls out of the nest and is then eaten by the parental bird. The acorns pattering on the hut at night and the words of the fox - "Chaos reigns!" - reinforce this impression. The woman even sums up: "Nature is Satan's Church."

In the course of the film, the relationship between the spouses changes. The woman gradually frees herself from the fears that initially dominated her. She begins to refuse her husband, who initially held a dominant position through his authority as a therapist and his unconditional demand on the woman to face her fear.
The woman becomes more hostile and aggressive towards him, which ultimately culminates in the act of castration and his being tied to the grinding wheel; in the end the woman even mutilates herself. On the other hand, there is also the woman's fear of losing the man, which takes on paranoid traits when the man threatens to slip away from her.

Staging

With Antichrist, Lars von Trier turned away from the minimalism of previous films. In addition to the digital effects used, this mainly affected the opening and closing scenes and the representation of the forest. Von Trier designed the beginning and the end of Antichrist in the style of the silent film : black and white shots shot in slow motion , which the director underlined with the aria Lascia ch'io pianga from Handel's Rinaldo ; in the epilogue it also forms the musical conclusion of the film. In the rest of the film, von Trier did without music and instead focused on the sounds of the forest, such as the rustling of leaves or the cry of birds.

The director also used highly stylized recordings when depicting the forest. Here, too, von Trier sometimes used slow motion; Images of fog and darkness in the forest give the impression of eerie and threat. In addition, cameraman Dod Mantle filmed several shots from unusual angles, such as from the burrow or from a bird's eye view . The pictures are almost exclusively reduced to gray, blue and green tones. In the first chapter of the film, close-ups of Dafoe and Gainsbourg's faces dominate, the space as such is reduced by the shallow depth of field ; only when entering nature does it gain presence. During the dialogues, the camera does not switch shot-reverse shot , but with quick pans from one spouse to the other, which increases the density of these scenes. The subtitles of the individual chapters were designed by Per Kirkeby , as well as the lettering of the title and the credit .

Von Trier dedicated the film to the Soviet director Andrei Tarkowski , who died in 1986 , whose depictions of nature he admires and whose work he says is of great importance to him. Reminiscences of Tarkowski's films can also be found several times in Antichrist , for example the hut in the forest is reminiscent of The Mirror or Sacrifice . Von Trier also leaned on the work of Tarkowski with his highly subjective images. He also referred to the inferno in Dante Alighieri's Divine Comedy , in which the protagonist wanders through a dark forest.

Motifs

"'Freud is dead' once stated the woman, and yet 'Antichrist' is full of symbols."

- Walter Gasperi : Culture online

Von Trier used several recurring motifs in Antichrist . "The Three Beggars" appear in different shapes: first as pewter figures of three tramps who are pushed down by Nic when climbing the window sill, later as deer, fox and crow or as fictional constellations . Linked to them is the woman's statement that someone would die when the three beggars appear. In fact, not only does the child die, but the animals each appear under a sign of death: the deer has a miscarriage, the fox tears its own bowels and the crow comes to life twice, even though the man kills it to death. After all, the woman's prophecy is fulfilled with her death. In addition, nature also plays an important role in the film and is usually threatening when the acorns patter on the roof or nocturnal storms. With the second half of the film, the motif of the witch increasingly comes to the fore, which is reflected not only in the title of the film and the dissertation topic of the woman, but also in the burning pyre at the end of chapter four.

Position in the complete works of Triers

Jan Simons, Associate Professor for New Media at the Universiteit van Amsterdam, sees Antichrist as the “ultimate culmination” of Trier's work, as the film takes up numerous central motifs and dramaturgical constellations from earlier films and connects them with one another. The pair constellation can also be found as the starting point for a conflict in Europe and in Breaking the Waves . The motif of the gynocide is also present in films such as Idiots , Dancer in the Dark or Element of Crime and runs as a red thread through the director's films. The dilemma “punish or die” is also a conflict for Simons, which in a modified form plays a fundamental role in other films, for example in Dogville . So the film is less a break with and more the consistent continuation of earlier works.

reception

Antichrist became a scandal film and, along with Quentin Tarantino's Inglourious Basterds, became the “most discussed film on the Croisette ” during the 2009 Cannes International Film Festival . Antichrist split the German trade press. Harald Peters called it the “most hated film of 2009” in the daily newspaper Die Welt . Daniel Kothenschulte ( Frankfurter Rundschau ) stated that the Danish director hopes “more clumsily” than ever before for “the instinctive effect of supposedly emotional cinema images” which “he tries to expose in their manipulation”. The film is "in its entirety a tragic expression of the creative crisis of its director" and suffers "in detail from the inner distance of its protagonists". Verena Lueken ( FAZ ) saw Antichrist as an "artistic, inflated genre cinema that wants to be more than a genre". She praised the two main actors as fearless, but von Trier burned both of them “in an acting tour de force for no good reason”. In contrast, Andreas Borcholte ( Spiegel Online ) rated the film as “an extremely difficult to digest, but grandiose and very visually stunning masterpiece” and confirmed that Antichrist had a good chance of winning the main prize at the film festival. Constantin Magnis ( Cicero ) formulates that von Trier came closer to the reality of the twisted, ruthlessly violated truth that depression always is on the screen than in therapy sessions, "he had" created a work for which he intended Can boast right. As much as you have to take care of him. "

On the Cannes film market, Antichrist was offered to international distributors in a version shortened by four scenes due to the pornographic and violent scenes of the festival version and is said to have achieved one of the highest degrees in Great Britain in years.

Awards

In 2009, Antichrist received an invitation to the competition at the Cannes Film Festival , where von Trier competed for the Palme d'Or and lead actress Charlotte Gainsbourg won the award for best actress . The independent ecumenical jury , which is appointed by the international film organizations of the Protestant (Interfilm) and Catholic Church (SIGNIS), awarded the film an anti-prize for the first time in its history. Months later, when the nominations for the European Film Awards were announced, the film was nominated in three categories and won the award for best camera. In autumn 2009 the film was also awarded the Nordic Council's film prize.

In 2010 the Danish Film Academy named Antichrist with the Robert as the best Danish film of the last cinema year and also honored the direction and script from Triers, the camera work by Anthony Dod Mantle , special effects / lighting, editing and sound. A little later, the film also won the Danish Bodil in the categories of film, leading actor, leading actress, camera and special effects / lighting.

literature

Interviews

Review mirror

positive

Mixed

Rather negative

  • Cinema , No. 8/2009, p. 48, by Philipp Schulze: Antichrist
  • taz , September 5, 2009, p. 31, short review by Cristina Nord: horror film and psychodrama at the same time

negative

Interpretations

  • Walter Gasperi: Antichrist In: Kultur online, September 15, 2009.
  • Elfriede Jelinek : And if you are not willing, I need violence In: Cargo , 3/2009, pp. 10–15. ( aem-gmbh.com )
  • Charles Martig: Antichrist. Lars von Trier on Gnostic astray In: Medienheft . August 31, 2009.
  • Chow Pei Sze: Losing Control: Lars von Trier and the Production of Authenticity and the Auteur. National University of Singapore, Singapore 2010. (Online as PDF )
  • Jan Simons: Lars von Trier's Antichrist: Natures, Couples, Rules, Games. In: Seachange: Art, Communication, Technologies . Spring 2010. pp. 120-134. ( PDF )
  • Bodil Marie Stavning Thomsen: Antichrist — Chaos Reigns: The Event of Violence and the Haptic Image in Lars von Trier's Film. In: Journal of Aesthetics & Culture , 1, 2009. doi: 10.3402 / jac.v1i0.3668 ( Online )
  • Björn Hayer: Lars von Trier's Antichrist. An analysis . Diplomica, Hamburg 2012. ISBN 978-3-842-87294-3 .
  • Leo Stühl: Art in the horror genre: excessive violence and pornography in Lars von Trier's Antichrist . Diplomica, Hamburg 2013, ISBN 978-3-95549-099-7 .

Web links

Individual evidence

  1. ^ Certificate of Release for Antichrist . Voluntary self-regulation of the film industry , March 2011 (PDF; test number: 118 332-a V).
  2. ↑ Hans Jørgen Møller: Von Trier: Jeg kan ikke lave flere film. Efterveerne efter en depression truer med at stoppe Lars von Trier's career . In: Politiken , May 11, 2007.
  3. ^ Nils Thorsen: Lars von Trier: Det hjemmelavede menneske . In: Politiken . May 17, 2009. (Danish)
  4. ↑ Thomas Kniebe: Shine and Arrogance . In: Süddeutsche Zeitung . May 19, 2009.
  5. ↑ a b c d e Tobias Becker, Daniel Sander: "I have to live with fear" . In: KulturSPIEGEL . Edition 9/2009, pp. 11-17.
  6. ↑ Director's Confessions ( Memento of the original from October 17, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 2.6 MB) in the official press kit at festival-cannes.fr (English), p. 3; Retrieved September 12, 2009 @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  7. ↑ a b "We came for the money and stayed for the very nice treatment" "Lars von Trier turns" Antichrist "in NRW - A Settermin . ( Memento of the original on 29 May 2009 at the Internet Archive ) Info: The archive link is automatically used and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Filmstiftung NRW ; accessed September 13, 2009. @1@ 2Template: Webachiv / IABot / www.filmstiftung.de
  8. ↑ credits. Internet Movie Database , accessed May 22, 2015 .
  9. ↑ Dafoe And Gainsbourg Tempted By Antichrist . In: nordiskfilmmogtvfond.com . August 22, 2008, accessed September 13, 2009. (English)
  10. ^ A b David Bourgeois: Antichrist's Willem Dafoe: 'We Summoned Something We Didn't Ask For' . ( Memento of the original from May 23, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. movieline.com, May 20, 2009; Retrieved September 13, 2009. @1@ 2Template: Webachiv / IABot / www.movieline.com
  11. ↑ Michael Bo: De overlevede Antikrist og von Trier . in: Politiken , 23 May 2009, p. 2; interview
  12. ↑ Russ Fischer: We Forgot to Tell You About the Antichrist . ( Memento of the original from May 28, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. chud.com, August 19, 2009; Retrieved September 13, 2009. @1@ 2Template: Webachiv / IABot / www.chud.com
  13. ↑ Antichrist Pressbook . ( Memento of the original from July 30, 2009 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. artificial-eye.com; Retrieved September 13, 2009. @1@ 2Template: Webachiv / IABot / www.artificial-eye.com
  14. ↑ Redcam I Fremmarch . Det Danske Film Institute , May 7, 2009; Retrieved September 13, 2009
  15. ↑ Dirk Peitz: "I was obsessed with fear". In conversation: Charlotte Gainsbourg . Süddeutsche Zeitung , 23 August 2009.
  16. ↑ Mikkel Fyhn: Mød effektmændene bag Triers mareridt in: Politiken, 23 May 2009.
  17. ↑ Antichrist & Slumdog Millionaire . youtube.com (interview with Stefan Ciupek for Moviepilot), September 11, 2009; Retrieved October 10, 2009.
  18. ↑ Efekty specjalne w Antychryście . ( Memento of the original from June 6, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. community.platige.com, June 2, 2009; Retrieved September 13, 2009. @1@ 2Template: Webachiv / IABot / community.platige.com
  19. ↑ Jan Schulz-Ojala: Chaos reigns, says the fox . In: Der Tagesspiegel , May 20, 2009, p. 26
  20. ↑ Anke Westphal: Everything about my father . In: Berliner Zeitung , May 20, 2009, p. 34
  21. ↑ Daniel Kehlmann : Nature is Satan's Church In: Die Zeit , No. 37/2009
  22. ↑ Elfriede Jelinek: And if you are not willing, I need violence . In: Cargo 3/2009, pp. 10-15
  23. ^ A b c Walter Gasperi: Antichrist In: Kultur online, September 15, 2009; Retrieved September 29, 2009.
  24. ↑ Christoph Egger: Screams of horror, scornful laughter and dedicated applause In: NZZ Online , May 20, 2009; Retrieved September 29, 2009.
  25. ↑ Hanns-Georg Rodek : "I just want to survive" In: Die Welt , May 15, 2009, issue 112/2009, p. 29
  26. ^ A b Charles Martig: Antichrist. Lars von Trier on Gnostic astray. In: Medienheft , August 31, 2009; Retrieved October 13, 2009.
  27. ↑ Elfriede Jelinek: And if you are not willing, I need violence . In: Cargo 3/2009, p. 12
  28. ↑ Elfriede Jelinek: And if you are not willing, I need violence . In: Cargo . Edition 3/2009, p. 14.
  29. ^ Jan Simons: Lars von Trier's Antichrist: Natures, Couples, Rules, Games. In: Seachange: Art, Communication, Technologies . Spring 2010. p. 121.
  30. ↑ Stefan Volk: Scandal Films. Cinematic excitement yesterday and today . Marburg 2011, p. 271 .
  31. ↑ Martin Walder: At the Antichrist . In: NZZ am Sonntag . May 24, 2009, p. 51.
  32. ↑ Quoted from: Stefan Volk: Scandalfilme. Cinematic excitement yesterday and today . Marburg 2011, p. 271 .
  33. ↑ Daniel Kothenschulte: Devil in woman and block on the leg . In: Frankfurter Rundschau Online . May 20, 2009, p. 35.
  34. ↑ Verena Lueken : Satan is a woman . In: faz.net . May 19, 2009, accessed May 31, 2009.
  35. ↑ Andreas Borcholte: When two shed their skin . In: Spiegel Online . May 18, 2009, accessed February 16, 2020.
  36. ↑ Constantin Magnis: The nature of the beast . ( Memento of the original from October 14, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Cicero Online , July 2009 @1@ 2Template: Webachiv / IABot / www.cicero.de
  37. ↑ Verena Lueken : All violence comes from the cinema . In: faz.net . May 24, 2009, accessed June 10, 2009.
  38. ↑ Prize winners ( Memento of the original from June 15, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at festival-cannes.fr (English; accessed May 24, 2009) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  39. ↑ Derek Elley, Justin Chang : Palme raps in 'Ribbon' . In: Daily Variety . May 26, 2009, p. 1.