TV & FILM
brian-mcgee - November 1, 2018
When most directors get banned from the Cannes Film Festival, they take the opportunity to do some soul searching and maybe fundamentally change who they are as human beings. Lars von Trier is not most directors, so when he roared back to life with The House That Jack Built at this year's festival, he took the opportunity to double down on everything that offended people in the first place.
Never one to play by anyone's rules but his own, von Trier's latest follows Matt Dillon's Jack as he perfects the art of serial killing...
The House That Jack Built takes place in 1970s USA. We follow the highly intelligent Jack (Matt Dillon) through 5 incidents and are introduced to the murders that define Jack’s development as a serial killer. We experience the story from Jack’s point of view. He views each murder as an artwork in itself, even though his dysfunction gives him problems in the outside world. Despite the fact that the final and inevitable police intervention is drawing ever near (which both provokes and puts pressure on Jack) he is – contrary to all logic – set on taking greater and greater chances. Along the way we experience Jack’s descriptions of his personal condition, problems and thoughts through a recurring conversation with the unknown Verge – a grotesque mixture of sophistry mixed with an almost childlike self-pity and in-depth explanations of, for Jack, dangerous and difficult maneuvers.
The unrated director's cut of the film is being released in select theaters on November 28 before opening in an R-rated version in theaters and On Demand on December 14.
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