Trier directed the comedy. Anyone that's even just a little familiar with all the work on the Dane, at the first news in this, should at the least a bit surpised, and even more correct - not believe the source. Although the fact is, you could start to believe? Trier, firstly, is an innovator, a man who will not tolerate to walk the beaten path and literally re-opens cinema regarding his every film. Consider? Why not a comedy?
But Trier always knew tips on how to outwit everyone and provides this type of trick that this jaw often went into a private walk. He did not change himself now either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, classic, disgustingly banal understanding of your word? Lars is as opposed to that. Instead of this, he slipped the naive viewer into fusion from comedy, social drama, and in many cases some semblance of whether thriller or even a detective. The outcome would be a movie that had been outrageously topical: about losers and selfish people; about how people build and destroy walls of misunderstanding in relationships; a movie in regards to the concern about not being loved, well, also about the workplace atmosphere, which through the sane person, even very quickly, 123movies will make a clerk, featuring a internal cockroaches the length of a smaller Godzilla.
At first glance, it will seem which the film can be quite classy and poor in good fresh ideas, similar to a church rat for dollars. But it wasn't there. What was supposed becoming a sitcom became a somewhat deep philosophical parable with social connotations. At the same time, no-one turned off humor from the experience, and there are also a few moments when you laugh - not merely somehow maliciously and deeply within your consciousness, but you can also frankly give your feelings a voice.
Trier, as always, plays with all the viewer, leaving by far the most delicious to your finale, and in the course of the plot, its formation and setting, only throws small pieces, forcing emotions to operate, and the head over to rest for the time being. Only after the ultimate credits, if you sit in bewilderment and try to understand what the hell it was now, fecal material a workplace and gray mosaic slowly begin to form around my head, in the overall picture of that is buried what only probably the most attentive and thoughtful viewer can see.
Trier knows how to create the impression of a good storyteller and in many cases if he manipulates, he does it exclusively for major benefit of the viewer himself. Perhaps that is why the actors as part of his paintings always play such that they can't create the impression of falsity and insincerity. It often even appears as if on the screen there are the most real clerks, losers, actors, bosses and various inhabitants of a compact stuffy office while in the picture. Trier doesn't have expensive, but what could there be, just at least some interesting decorations. In The Biggest Boss, we come across a setting that makes the bottom in Manderlea and Dogville look worth it to read inside the background. At least, no choke like a smaller, cramped and kind of boring office space.
Realism is first and foremost, therefore music is also useless. Do we often hear music in real world, just discussing with someone or thinking about our daily bread? It is actually unlikely. ... So we don't hear from Trier. Scenery, music, actors ... ok last one! A different feature in the maestro also appeared in the new film. Now younger crowd acts as a storyteller, taking place , stage along with his comments at the start, end and middle of the picture. Such performances look quite cute and charming, crowning the film just as as a smaller but bright cherry crowns the top of a substantial and exquisite cake.
Well, and a few words ought to be said about another invention of your Danish genius - "Automavision” ;.A really cool thing. After the initial reports the fact that entire film was filmed devoid of the participation in the operator, I somehow expected more tin, much more than I received while in the end. Well, yes, in places the faces of folks are halved, your camera isn't going to show the interlocutors, but some kind of nonsense, but all at once everything does not bother in the least, only brings another part of realism into your picture.
Conclusion: Trier filmed a film which had been passable for himself and powerful for another director, which leaves a sense of understatement and depth, to access which you have to spend lots of time and effort.
Good comedies are never harmless
por Patrick Ong (2021-03-29)
Trier directed the comedy. Anyone that's even just a little familiar with all the work on the Dane, at the first news in this, should at the least a bit surpised, and even more correct - not believe the source. Although the fact is, you could start to believe? Trier, firstly, is an innovator, a man who will not tolerate to walk the beaten path and literally re-opens cinema regarding his every film. Consider? Why not a comedy?But Trier always knew tips on how to outwit everyone and provides this type of trick that this jaw often went into a private walk. He did not change himself now either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, classic, disgustingly banal understanding of your word? Lars is as opposed to that. Instead of this, he slipped the naive viewer into fusion from comedy, social drama, and in many cases some semblance of whether thriller or even a detective. The outcome would be a movie that had been outrageously topical: about losers and selfish people; about how people build and destroy walls of misunderstanding in relationships; a movie in regards to the concern about not being loved, well, also about the workplace atmosphere, which through the sane person, even very quickly, 123movies will make a clerk, featuring a internal cockroaches the length of a smaller Godzilla.
At first glance, it will seem which the film can be quite classy and poor in good fresh ideas, similar to a church rat for dollars. But it wasn't there. What was supposed becoming a sitcom became a somewhat deep philosophical parable with social connotations. At the same time, no-one turned off humor from the experience, and there are also a few moments when you laugh - not merely somehow maliciously and deeply within your consciousness, but you can also frankly give your feelings a voice.
Trier, as always, plays with all the viewer, leaving by far the most delicious to your finale, and in the course of the plot, its formation and setting, only throws small pieces, forcing emotions to operate, and the head over to rest for the time being. Only after the ultimate credits, if you sit in bewilderment and try to understand what the hell it was now, fecal material a workplace and gray mosaic slowly begin to form around my head, in the overall picture of that is buried what only probably the most attentive and thoughtful viewer can see.
Trier knows how to create the impression of a good storyteller and in many cases if he manipulates, he does it exclusively for major benefit of the viewer himself. Perhaps that is why the actors as part of his paintings always play such that they can't create the impression of falsity and insincerity. It often even appears as if on the screen there are the most real clerks, losers, actors, bosses and various inhabitants of a compact stuffy office while in the picture. Trier doesn't have expensive, but what could there be, just at least some interesting decorations. In The Biggest Boss, we come across a setting that makes the bottom in Manderlea and Dogville look worth it to read inside the background. At least, no choke like a smaller, cramped and kind of boring office space.
Realism is first and foremost, therefore music is also useless. Do we often hear music in real world, just discussing with someone or thinking about our daily bread? It is actually unlikely. ... So we don't hear from Trier. Scenery, music, actors ... ok last one! A different feature in the maestro also appeared in the new film. Now younger crowd acts as a storyteller, taking place , stage along with his comments at the start, end and middle of the picture. Such performances look quite cute and charming, crowning the film just as as a smaller but bright cherry crowns the top of a substantial and exquisite cake.
Well, and a few words ought to be said about another invention of your Danish genius - "Automavision” ;.A really cool thing. After the initial reports the fact that entire film was filmed devoid of the participation in the operator, I somehow expected more tin, much more than I received while in the end. Well, yes, in places the faces of folks are halved, your camera isn't going to show the interlocutors, but some kind of nonsense, but all at once everything does not bother in the least, only brings another part of realism into your picture.
Conclusion: Trier filmed a film which had been passable for himself and powerful for another director, which leaves a sense of understatement and depth, to access which you have to spend lots of time and effort.