A Casa que Jack Construiu

That feeling, when you're expecting a great thriller about an intelligent psychopath, and you get a surprisingly accurate, but still egotistic social criticism, with Lars von Trier's inner demons in the middle.

Greetings from Lithuania.

"The House That Jack Built" (2018) is a movie that made me feel disturbed while i was watching it. I won't spoil anything, but the movie is about serial killer, and the way he does his "thing" was disturbing for me. And make no mistake, this a movie by L.V. Trier, so it won't be your typical and straightforward story about serial killer. And for the most part i was really involved into this movie, but then the last 20 min or so were really poetic and just a bit to much for me.

Overall, if you didn't like any of L.V. Triers previous movie, "The House That Jack Built" won't make him your fan that is for sure. On the other hand its a very skillfully made movie that kept me involved into its disturbing story right until the ending, which was a bit to much for me, unfortunately.

I just saw the "one night only" screening of THTJB, and it's surprisingly good. All the press about the outrageous violence is overstated. There's blood and a scene that verges on torture porn, but the levels of violence and gore are far worse in Nymphomanic and Antichrist.

LvT winks and nods. He gives us satire. Murder as art. Architecture and engineering. Uma Thurman with a broken Jack. The jack as a weapon. Blood. Frozen pizza. Glenn Gould. "Stupid" women. Stupid cops. OCD. Luck and fate. Photography. Family. MAGA hats. Guns. A picnic. Predator and prey. Murder as art (but Verge isn't buying it). The sound of wading in water. Nazis. Jacqueline (the feminine Jack). Misogyny. In America no on can hear you scream. Full Metal Jacket. Antiquity. Hell.

I'm curious to see the R rated version of the film because I think it can benefit from some editing. Matt Dillon is fine, sometimes great. The writing struggles at times. But for once there's another LvT film I can't wait to see again.

Lars Von Trier's 2018 film, "The House That Jack Built," transcends its surface narrative as a grimly comedic exploration of art and violence to serve as a potent dissection of its creator's own psyche.

The film's brutal story, punctuated by the existential musings of its titular character, Jack (Matt Dillon), serves as a conduit through which the filmmaker grapples with his own artistic impulses and the expectations levied upon him by society. To understand the film in its fullest context, one needs to delve deep into Von Trier's psyche and the broader tapestry of his own work.

Von Trier has been known for his controversial films, which often push the boundaries of societal norms and cinematic conventions. These are no casual forays into discomfort, but rather, they are systematic explorations of the human condition and the outer limits of behavior. At times, it seems as though Von Trier himself may benefit from psychoanalysis, if only to shed light on the psyche of the man who can create such unsettling masterpieces.

"The House That Jack Built," is not merely a tale about a serial killer; it is a study of a man who progressively pushes the boundaries of his art, mirroring Von Trier's own journey in filmmaking. Jack, initially an engineer, is bound by the constraints of his profession and societal norms, but he yearns for the freedom to be an architect, seeking to build a legacy for himself; something he can achieve through his own vision - in this instance, a house.

The pivotal moment in the film comes with the interjection of a sudden, transformative passion that sets Jack on a new path. It's a passion that steers Jack away from the norm, pushing him towards a path of greater personal significance - at least in his own eyes. This mirrors Von Trier's career, marked by a significant shift from mainstream narratives to pushing cinematic boundaries with films that provoke, challenge, and disturb.

Initially, Jack is depicted as a haphazard executioner, but as he grows more comfortable with his new 'craft,' his art becomes more daring, creative, and experimental. In a parallel manner, Von Trier's early pieces might have seemed less refined or unpredictable to some observers. However, as he honed his craft, experimented, trialed, and tests, he has developed a signature filmmaking style that consistently provokes intense responses from viewers.

In the end, Jack does indeed build a legacy, but not as he initially planned. His 'house' ends up being a collection of his monstrous deeds, a testament to his twisted artistic journey. Again, the parallels to Lars remain; His body of work, much like Jack's, has often been met with shock, controversy, and rejection. Despite this, or perhaps because of it, he continues to create, leaving an indelible mark on the world of cinema.

Von Trier's "The House That Jack Built" is thus not just a film about a murderer, but an exploration of the nature of art and the struggle of the artist. It is a deep dive into the mind of an individual who defies convention, providing a provocative commentary on the creative process and the artist's role in society. It is, in many ways, a self-portrait of Von Trier himself, who, like his protagonist Jack, continually tests the limits of his artistry, undeterred by societal perceptions.

I just saw Lars Von Trier's new film 'The House That Jack Built' at the Atlantic Film Festival. I'm not extremely familiar with Trier's other work (I love Antichrist and Dancer in the dark is one of the most depressing films I've ever seen), but I've still been looking forward to this one since its premiere at Cannes. The subject matter peaked my interest and the trailer looked great. The early reviews got me even more invested as everyone was saying it was Trier's most disturbing and violent film yet.

'The House That Jack Built' was fairly brutal, yet oddly comical (if you can look past the disturbing material) and widely entertaining. I was not expecting it to be as funny as it was considering all of the 'hype' around the film's dark brutality since its screening at Cannes. Having said that there are some extremely gruesome and disturbing scenes which are effective in what they set out to do.

The film is divided into 5 sections plus an epilogue. A strange structure but ultimately I think that it benefited the film as we see a slight progression of Jack's character throughout. Though it can feel a bit repetitive at points, it never gets boring and is continuously engaging. Matt Dillon was excellent as the truly psychopathic serial killer Jack. It was honestly probably the best role I've seen him in (seriously, he should be in more movies).

There are many philosophical discussions about the nature of art throughout the film. This can either come off as super pretentious or can actually add to the film. I thought it worked fine in the context of the film as it relates very much to the character of Jack and how he views himself and his, so to say, 'art'

The film portrays the violence in a fairly realistic manner and does not hold back. At all. Seriously, the movie is not for the faint of heart. But it never came across as gratuitous or 'edgy'. It felt like Trier was just showing us what these scenarios would look like if a serial killer viewed his killings as art.

If you're a fan of Trier's work then definitely try and see this one. Even if you're just a fan of disturbing art-films, check it out. It has a screening at VIFF in October but other than that I have no idea where you can see it. Surprisingly, the Atlantic Film Festival (Halifax, Nova Scotia) had a one-night screening for the film. Either way, try and see it if it looks interesting to you. I highly recommend it. 9/10.