These films feel like the works of someone who had yet to truly find their own voice.
The general pointlessness of its supernatural events leaves Exodus feeling like a retread.
This Blu-ray should help boost the film to its rightful place among the upper tier of von Trier’s body of work.
Lars von Trier’s film is about the ways of responding to art without the boundaries of morality and reason.
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 sex in Nymphomaniac is inhuman, mechanical, boring, and predictably viewed through the (male) scrim of someone who characterizes women solely as withholders.
Whereas female sexuality was borderline vampiric in Antichrist, this time we’re in more ambiguous, contextually richer terrain.
Lars von Trier’s pretenses of self-interrogation and cross-examination avail themselves as especially useful when considering his work.
In the realm of the old masters, there were at least two films in the festival that played as powerful elegies to the disappearing medium of 35mm.
With little more than two strategically placed parentheses, von Trier may well have delivered the best poster of the year.
We’ve rounded up 15 movie weddings that—aw, hell—take the cake.
Essential viewing, if not only for its edutainment factor, but for the dynamism and felt resonance of its maker’s bounding enthusiasms.
These shacks have giddily opened their doors to audiences through the years.
Bang and whimper all rolled up into one, Melancholia gets a glorious Blu-ray transfer from Magnolia.
The directing race has boiled down to nine names, four of which you can pretty safely etch into stone.
At 65, Charlotte Rampling is still one of cinema’s great iconoclasts.
Entertainers focused on their own sense of self, such as performance artist Brother Theodore and filmmaker/actor Crispin Glover, are wonderfully loopy stunt interviews.
The exterior mirrors the interior and vice versa in Melancholia.
Melancholia is a film of few epiphanies and even fewer insights, and as artful as the film’s doom and gloom may be, its symbolism flounders.
A Mysterious World might be the most auteur-y object to emerge from the festival’s “City to City” Buenos Aires-themed program.