Lars von Trier and a serial killer as an artist - a provocative postmodern thriller in which crime becomes an act of creativity. Matt Dillon as Jack builds a 'career' in 1970s America with the meticulousness of a perfectionist and the coldness of an aesthete. A film after which it is hard to talk about art as before. Lars von Trier is a director who knows how to make cinema unbearable in the most precise sense of the word: it is impossible to endure and impossible not to finish. "The House That Jack Built" is one of his most candid films, a direct and harsh conversation about the nature of evil, creativity, and that thin line where one is indistinguishable from the other. The film was released in 2018, was screened out of competition at Cannes, and elicited polar reactions: some viewers demonstratively left the hall during the screening, while others stood and applauded at the end. There were no indifferent spectators. The action unfolds in 1970s America. For twelve years, engineer Jack, played by Matt Dillon, commits murders, perceiving each of them as an artistic project. He is meticulous, obsessed with detail, and convinced that a true work of art requires a sacrifice - in the most literal sense. The structure of the film is built as a series of episode 'incidents', each revealing a new aspect of his internal logic and aesthetics.