Trier directed the comedy. Everyone that's even a bit familiar together with the work of the Dane, at the very first news on this, should at the least be surprised, and more correct - not believe the source. Although in reality, why don't you believe? Trier, firstly, is an innovator, a man who doesn't like to walk the beaten path and literally re-opens cinema with his every film. Take a look at? Have you thought to a comedy?
But Trier always knew tips on how to outwit everyone and provides this type of trick that the jaw often went into persistent walk. He failed to change himself this occassion either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, classic, disgustingly banal understanding of the word? Lars is in contrast to that. Instead coming from all this, he slipped the naive viewer into fusion from comedy, social drama, and in some cases some semblance of whether thriller or maybe a detective. The end result would be a movie that was outrageously topical: about losers and selfish people; about how people build and destroy walls of misunderstanding in relationships; a film regarding the concern about not being loved, well, also about a cubicle atmosphere, which from your sane person, even in a short time, will come up with a clerk, using its internal cockroaches how big is a smallish Godzilla.
When you're getting started, it would seem the fact that film is incredibly simple and easy and poor in good fresh ideas, similar to a church rat for dollars. But it wasn't there. The fact that was supposed to become a sitcom become a fairly deep philosophical parable with social connotations. As well, no one put off humor from the experience, and you will even find a handful of moments while you laugh - not just somehow maliciously and deeply inside your consciousness, but you can even frankly give your feelings a voice.
Trier, keep in mind, plays with the viewer, leaving the best delicious to the finale, and while in the plot, its formation and setting, only throws small pieces, forcing emotions to your workplace, as well as go to rest for the time being. Only after the last credits, if you sit in bewilderment and attempt to understand what the heck it was now, components of a dentist's office and grey mosaic slowly begin in order to create at my head, in the picture of that is buried what only probably the most attentive and thoughtful viewer can see.
Trier is able to create the impression of an honest storyteller and even if he manipulates, he does it just for the advantages of the viewer himself. Perhaps that's why the actors in her paintings always play in a way that they cannot create the sense of falsity and insincerity. It sometimes even looks like on screen there include the most real clerks, losers, actors, bosses as well as other inhabitants of a smallish stuffy office inside picture. Trier doesn't have expensive, but what could there be, just a minimum of some interesting decorations. In The Biggest Boss, we percieve an environment generates the bottom in Manderlea and Dogville look worth it to read from the background. At the least, doesn't necessarily choke like a smallish, cramped and sort of boring office space.
Realism is first and foremost, therefore music is additionally useless. Will we often hear music in actual life, just speaking to someone or considering our daily bread? It truly is unlikely. ... So unfortunately we cannot listen to Trier. Scenery, 123 movies music, actors ... by the way! The latest feature of the maestro also appeared in the brand new film. Now young drivers . behaves as a storyteller, happening stage together with his comments in the beginning, end and middle of the picture. Such performances look quite cute and charming, crowning the film just as as a tiny but bright cherry crowns the top of a big and exquisite cake.
Well, and a handful of words really should be said about the subsequent invention in the Danish genius - "Automavision” ;.This kind of cool thing. After the very first reports which the entire film was filmed devoid of the participation in the operator, I somehow expected more tin, much over I received inside end. Well, yes, in places faces of persons are halved, the camera would not show the interlocutors, but an nonsense, but as well everything doesn't bother in the least, but only brings another area of realism in to the picture.
Conclusion: Trier filmed a show that's passable for himself and robust for almost every other director, which leaves a sense of understatement and depth, to access which you should spend considerable time and effort.
Good comedies are never harmless
por Lonnie Dobbs (2021-03-29)
Trier directed the comedy. Everyone that's even a bit familiar together with the work of the Dane, at the very first news on this, should at the least be surprised, and more correct - not believe the source. Although in reality, why don't you believe? Trier, firstly, is an innovator, a man who doesn't like to walk the beaten path and literally re-opens cinema with his every film. Take a look at? Have you thought to a comedy?But Trier always knew tips on how to outwit everyone and provides this type of trick that the jaw often went into persistent walk. He failed to change himself this occassion either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, classic, disgustingly banal understanding of the word? Lars is in contrast to that. Instead coming from all this, he slipped the naive viewer into fusion from comedy, social drama, and in some cases some semblance of whether thriller or maybe a detective. The end result would be a movie that was outrageously topical: about losers and selfish people; about how people build and destroy walls of misunderstanding in relationships; a film regarding the concern about not being loved, well, also about a cubicle atmosphere, which from your sane person, even in a short time, will come up with a clerk, using its internal cockroaches how big is a smallish Godzilla.
When you're getting started, it would seem the fact that film is incredibly simple and easy and poor in good fresh ideas, similar to a church rat for dollars. But it wasn't there. The fact that was supposed to become a sitcom become a fairly deep philosophical parable with social connotations. As well, no one put off humor from the experience, and you will even find a handful of moments while you laugh - not just somehow maliciously and deeply inside your consciousness, but you can even frankly give your feelings a voice.
Trier, keep in mind, plays with the viewer, leaving the best delicious to the finale, and while in the plot, its formation and setting, only throws small pieces, forcing emotions to your workplace, as well as go to rest for the time being. Only after the last credits, if you sit in bewilderment and attempt to understand what the heck it was now, components of a dentist's office and grey mosaic slowly begin in order to create at my head, in the picture of that is buried what only probably the most attentive and thoughtful viewer can see.
Trier is able to create the impression of an honest storyteller and even if he manipulates, he does it just for the advantages of the viewer himself. Perhaps that's why the actors in her paintings always play in a way that they cannot create the sense of falsity and insincerity. It sometimes even looks like on screen there include the most real clerks, losers, actors, bosses as well as other inhabitants of a smallish stuffy office inside picture. Trier doesn't have expensive, but what could there be, just a minimum of some interesting decorations. In The Biggest Boss, we percieve an environment generates the bottom in Manderlea and Dogville look worth it to read from the background. At the least, doesn't necessarily choke like a smallish, cramped and sort of boring office space.
Realism is first and foremost, therefore music is additionally useless. Will we often hear music in actual life, just speaking to someone or considering our daily bread? It truly is unlikely. ... So unfortunately we cannot listen to Trier. Scenery, 123 movies music, actors ... by the way! The latest feature of the maestro also appeared in the brand new film. Now young drivers . behaves as a storyteller, happening stage together with his comments in the beginning, end and middle of the picture. Such performances look quite cute and charming, crowning the film just as as a tiny but bright cherry crowns the top of a big and exquisite cake.
Well, and a handful of words really should be said about the subsequent invention in the Danish genius - "Automavision” ;.This kind of cool thing. After the very first reports which the entire film was filmed devoid of the participation in the operator, I somehow expected more tin, much over I received inside end. Well, yes, in places faces of persons are halved, the camera would not show the interlocutors, but an nonsense, but as well everything doesn't bother in the least, but only brings another area of realism in to the picture.
Conclusion: Trier filmed a show that's passable for himself and robust for almost every other director, which leaves a sense of understatement and depth, to access which you should spend considerable time and effort.