Eternal return, Cannes edition (a.k.a. No Quarto da Charlotte)

So, in wading through the [eco-friendly online] reams of Cannes coverage, I came across the above image of ropy-armed Prix d'interprétation féminine recipient Charlotte Gainsbourg from Lars von Trier's Antichrist, which for all the world resembles [to me, anyway] an art-directed*, artificial version of Pedro Costa's In Vanda's Room. Wonder which is scarier?

*A term I use advisedly, given that all of Costa's light looks lifted straight out of the Dutch Old Masters.