Antichrist starts off simple enough, and in the same manner as many other films: with tragedy. And, while the tragedy is nothing short of reality (very reminiscent to the death of Eric Clapton's child), what von Trier presents is the start of a community based on the idea of 'Antichrist'.
In the wake and realization of the their son's death, He (aptly named of course, and played by Willem Defoe) and She (the same, but played by Charlotte Gainsbourg) spiral into the misting force of hate, hope, and self loathing. Luckily He is a doctor, much equipped to handle the strains of emotion forced through tragedy.
At his yearning, and against her will, the couple decide to take a trek to Eden in order to discover what is at the heart of their (mainly She) spiraling depression. This is where things get hairy.
We are quickly offered an insight to the majesty of Eden. And, while the name quickly connotes thoughts of heavenly bliss, this Eden is one far removed from reality. The pair dance through an elaborate game of sensation and temptation that weaves through hopeful triumph, masochism, and misogyny.
The Outer Layer of von Trier's Antichrist
Underneath this simple story lies a decaying fruit with flavors that would burn your tongue. To properly dissect the film, it's important to shed their blinders personal religious beliefs. Truth is, the heart of this film lies not with acceptance of any form of organized religion, but simply as recognition of temptation as a driving, tangible force.
Writer C.S. Lewis said that pride was man's greatest sin. But Von Trier sees sexual temptation as the heart of humanity. It thrives as the beating heart at the center of our being, as our own driving force. If nature is Satan's church, and we are a product of nature, then we surely are the wicked off spring of the devil himself (not God).
Let us pretend for a moment that the world around is run by a higher being. In the same regard, Antichrist assumes that being is one of evil intentions...an antichrist.
The Film's Inner Layer
So, recognizing that this film lives within a realm that exists to champion sin and dystopia, we can see the characters emerge and progress in that context. He and She are never meant to be tragic figures, but rather to exist as the pushing points for the devil's church. And, much in the same manner as their own child dies (thrown into the throngs of a crying world while He and She have sex), Eden provides a complex safety net of subtle disaster.
Within these constraints, the story is never meant to have a climax worthy of cheering for. She, like Eve, is destined to accept her role in the fall of man. He cannot help but step into the protagonist role, shedding the tempting hand of his lover.
He can never properly love She who, no matter what, can never accept his love. The world they live in exists outside of practical comprehension, outside of religious understanding, and only manifests itself in the the realm of sexuality. Eden is the catalyst for this change, and proves to be the true driving force for the story.
