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After a brief, weird-out epilogue, we come out feeling that we have learned very little вЂ“ other than that itвЂ™s a good idea to hide the toolbox when having a domestic tiff. But you canвЂ™t help wondering why a director this sophisticated would want to put his audience through the mill quite so crudely. Dod MantleвЂ™s elegant DV photography, using RED and Phantom cameras, makes for visual distinction, both in the stylised sequences and in the straighter chamber-drama sequences. Von Trier deserves credit for audacity, not least in making a genuine two-hander: apart from the coupleвЂ™s sporadically glimpsed child, Gainsbourg and Defoe are the only players, other humans appearing with faces digitally blurred. The eventual extremity of the acting is very much part of the overall conception, suggesting that вЂ“ despite flamboyantly cinematic finish вЂ“ Antichrist is ultimately as rooted in stage drama as the directorвЂ™s studio-shot Dogville and Manderlay.

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You can imagine that its making was cathartic for him, and no doubt for the actors, who go at their performances full tilt - raw and often discomforting nudity included. Von Trier has stated that Antichrist was a form of therapy for him, following a long period of depression. In fact, von TrierвЂ™s models in the culminating sequences seem to be ArtaudвЂ™s Theatre of Cruelty and Stephen KingвЂ™s Misery: who would have thought that the mischievous yet high-minded Dane would have provided the latest high-profile torture porn? It comes as no surprise when marital tensions at last come to a boil in a way that even Ingmar Bergman might have thought a bit steep. The filmвЂ™s ultimate destination is signalled by the revelation that the wife Gainsbourg had been working on a thesis about witches and the mistreatment of women, although she now seems to have concluded that women are innately evil. There, the couple find nature conspiring to put the chills up them, with even acorns seeming to have a malign presence, and a deer, a crow and a fox all getting to provide bizarre (and in the foxвЂ™s case, preposterous) scares. Reacting equivocally to her fits of violent sexual passion, he prefers to talk her down with dubious-sounding psychobabble, then decides that she should confront her fear by accompanying him to the place where she is most afraid, a creepy house among dark woods, ironically named Eden. Her husband, a know-it-all psychotherapist who never expresses his own sorrow, counter-intuitively decides to tackle her cure personally. The wife has reacted to grief by going into an extended trauma. Von Trier and regular DoP Anthony Dod Mantle switch to colour on a restricted palette вЂ“ blues for the first section, woody greens and browns later вЂ“ as the film settles into an intimate mode, depicting the coupleвЂ™s emotional wranglings, often in claustrophobic close-up. This moment вЂ“ too manipulative to be emotionally wrenching вЂ“ is depicted in luscious black and white and impressionistic ultra-slow motion, verging perilously on music-video kitsch. Von Trier begins with a nod to DonвЂ™t Look Now, detailing the death of the coupleвЂ™s young son while they are busy having passionate and graphically detailed sex. Sexual politics is manifestly the filmвЂ™s true subject, all the Gothic trimmings coming across as intense but misleading window dressing. They attempt to cure their sorrows by going on an ill-advised wilderness retreat, matters coming to a head in the mother of all marital spats.

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But in the wider world, Antichrist will prove too loopy and coarse for art-house audiences, while genre horror buffs вЂ“ however cleverly the film is sold to them - will spurn the film, much as they did Michael HanekeвЂ™s US Funny Games remake.Дivided into four chapters, plus black-and-white prologue and epilogue, the film follows the emotional travails (Grief, Pain and Despair, as the film repeatedly specifies) of an unnamed couple (Gainsbourg and Dafoe). Some von Trier fans will welcome his return to the elaborate visual invention he abandoned with the founding of Dogme.

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This bizarre, increasingly hysterical melodrama for two is ostensibly von TrierвЂ™s first crack at genre horror, but his nods to convention really serve an attempt to pursue the gender-war theme further than even the directorвЂ™s avowed influence Strindberg.ДЄntichrist is ultimately as rooted in stage drama as the directorвЂ™s studio-shot Dogville and Manderlay The film could be described as a shocker in more ways than one, and was greeted with both laughter and booing at its Cannes competition press.

Veteran provocateur Lars von Trier must have been feeling taken for granted, because he goes all out for our attention in baroque horror essay Antichrist.

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