These films feel like the works of someone who had yet to truly find their own voice.
Von Trier’s greatest film, by a wide margin, is revealed by Criterion to be even more beautiful than you may have already known.
The viewer is informed of a world of chaos, obsession, and irresolution, but has no cinematic means of accessing or understanding it.
The most enduring critique leveled against the cinema du look is its fixation on surface.
Vivid, striking, and methodical in its approach, Upstream Color’s visual aesthetic is both provocative and beautiful.
Co-directors Pascal Arnold and Jean-Marc Barr do all they can to make their film seem edgy.
Though his camera rarely moves, Christophe Honoré’s compositions seethe with emotional and physical exuberance.
The film’s value beyond its exquisite use of setting to craft mood is a dicey question.
The future Dogme 95 king’s last work of crafty artifice: less than meets the eye.
Europa’s total effect is one of prettified, hollowed-out Kafka.
Pascal Arnold and Jean-Marc Barr’s film cannot be appreciated without some measure of guilt.
Given its overwhelming density of execution, it’s strange that some have considered Lars von Trier’s new film a light-hearted experience.
Fans of the film will want to opt for the Nordisk Region 2 disc, which boasts better image quality and actual extras.
This feisty sex comedy of errors doesn’t break any ground, but it still has its charms.
The Brechtian formalism that stirred the more ambiguous Dogville’s philosophical inquisitions is put to uninspired use in Manderlay.
The filmmakers’ gentle humanism allows the film to moderately rise above its somewhat rote tale of Riviera bed-hopping.
Dogville is less anti-American than it is, quite simply, anti-oppression.