Trier directed the comedy. Everyone who's even somewhat familiar with the work of your Dane, at the earliest news in this, should at the least be amazed, and many more correct - not believe the source. Although the truth is, why don't you believe? Trier, to start with, is an innovator, a man who doesn't like to run the beaten path and literally re-opens cinema with his every film. So why don't you? Why not a comedy?
But Trier always knew how to outwit everyone and offer this kind of trick the jaw often went into an unbiased walk. He didn't change himself these times either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, classic, disgustingly banal understanding in the word? Lars is as opposed to that. Instead off this, he slipped the naive viewer into fusion from comedy, social drama, as well as some semblance of a thriller or simply a detective. The effect would be a movie which was outrageously topical: about losers and selfish people; regarding how people build and destroy walls of misunderstanding in relationships; the big game concerning the the fear of not being loved, well, also about the workplace atmosphere, which from any sane person, even eventually, will generate a clerk, featuring a internal cockroaches how big is a tiny Godzilla.
In the beginning, it might seem the fact that film is very simple and easy and poor in good fresh ideas, just like a church rat for dollars. But it had not been there. That which was supposed to become sitcom transformed into a relatively deep philosophical parable with social connotations. As well, not one person put off humor from the action, and there are also several moments once you laugh - not just somehow maliciously and deeply inside your consciousness, but you can even frankly give all those feelings a voice.
Trier, bear in mind, plays while using the viewer, leaving by far the most delicious on the finale, and through the plot, its formation and setting, only throws small pieces, forcing emotions to be effective, and also the go to rest for time being. Only after one more credits, whenever you sit in bewilderment and then try to understand what the hell it had become now, waste a workplace and grey mosaic slowly begin to create at my head, in the entire picture of that is buried what only one of the most attentive and thoughtful viewer can see.
Trier is able to create the sense of a responsible storyteller and also if he manipulates, he does it mainly for the benefit of the viewer himself. Perhaps this is the reason the actors within his paintings always play such that they don't create the impression of falsity and 123 movies insincerity. It often even appears that on the screen there are definitely the most real clerks, losers, actors, bosses and other inhabitants of a small stuffy office inside the picture. Trier doesn't need expensive, but what possibly there is, just at least some interesting decorations. In The Biggest Boss, there are an environment generates the earth in Manderlea and Dogville look quite interesting while in the background. At least, it does not choke like a smaller, cramped and sort of boring office space.
Realism is above all, therefore music is likewise useless. Can we often hear music in actual life, just actually talking to someone or thinking about our daily bread? It is actually unlikely. ... So we don't listen to Trier. Scenery, music, actors ... oh yeah! The latest feature of your maestro also appeared in the brand new film. Now vehicles provides a storyteller, taking stage in reference to his comments in the beginning, end and core picture. Such performances look quite cute and charming, crowning the film just like as a little but bright cherry crowns the top of the a sizable and beautiful cake.
Well, and a handful of words must be said about your next invention of the Danish genius - "Automavision” ;.Such a cool thing. After the primary reports that the entire film was filmed with no participation from the operator, I somehow expected more tin, much in excess of I received from the end. Well, yes, in places the faces of folks are halved, you will not show the interlocutors, but an nonsense, but concurrently everything won't bother whatsoever, only brings another element of realism on the picture.
Conclusion: Trier filmed a movie which had been passable for himself and powerful for almost every other director, which leaves a feeling of understatement and depth, to get at which you'll want to spend time and effort.
Good comedies should never be harmless
por Charlene Parry (2021-04-06)
Trier directed the comedy. Everyone who's even somewhat familiar with the work of your Dane, at the earliest news in this, should at the least be amazed, and many more correct - not believe the source. Although the truth is, why don't you believe? Trier, to start with, is an innovator, a man who doesn't like to run the beaten path and literally re-opens cinema with his every film. So why don't you? Why not a comedy?But Trier always knew how to outwit everyone and offer this kind of trick the jaw often went into an unbiased walk. He didn't change himself these times either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, classic, disgustingly banal understanding in the word? Lars is as opposed to that. Instead off this, he slipped the naive viewer into fusion from comedy, social drama, as well as some semblance of a thriller or simply a detective. The effect would be a movie which was outrageously topical: about losers and selfish people; regarding how people build and destroy walls of misunderstanding in relationships; the big game concerning the the fear of not being loved, well, also about the workplace atmosphere, which from any sane person, even eventually, will generate a clerk, featuring a internal cockroaches how big is a tiny Godzilla.
In the beginning, it might seem the fact that film is very simple and easy and poor in good fresh ideas, just like a church rat for dollars. But it had not been there. That which was supposed to become sitcom transformed into a relatively deep philosophical parable with social connotations. As well, not one person put off humor from the action, and there are also several moments once you laugh - not just somehow maliciously and deeply inside your consciousness, but you can even frankly give all those feelings a voice.
Trier, bear in mind, plays while using the viewer, leaving by far the most delicious on the finale, and through the plot, its formation and setting, only throws small pieces, forcing emotions to be effective, and also the go to rest for time being. Only after one more credits, whenever you sit in bewilderment and then try to understand what the hell it had become now, waste a workplace and grey mosaic slowly begin to create at my head, in the entire picture of that is buried what only one of the most attentive and thoughtful viewer can see.
Trier is able to create the sense of a responsible storyteller and also if he manipulates, he does it mainly for the benefit of the viewer himself. Perhaps this is the reason the actors within his paintings always play such that they don't create the impression of falsity and 123 movies insincerity. It often even appears that on the screen there are definitely the most real clerks, losers, actors, bosses and other inhabitants of a small stuffy office inside the picture. Trier doesn't need expensive, but what possibly there is, just at least some interesting decorations. In The Biggest Boss, there are an environment generates the earth in Manderlea and Dogville look quite interesting while in the background. At least, it does not choke like a smaller, cramped and sort of boring office space.
Realism is above all, therefore music is likewise useless. Can we often hear music in actual life, just actually talking to someone or thinking about our daily bread? It is actually unlikely. ... So we don't listen to Trier. Scenery, music, actors ... oh yeah! The latest feature of your maestro also appeared in the brand new film. Now vehicles provides a storyteller, taking stage in reference to his comments in the beginning, end and core picture. Such performances look quite cute and charming, crowning the film just like as a little but bright cherry crowns the top of the a sizable and beautiful cake.
Well, and a handful of words must be said about your next invention of the Danish genius - "Automavision” ;.Such a cool thing. After the primary reports that the entire film was filmed with no participation from the operator, I somehow expected more tin, much in excess of I received from the end. Well, yes, in places the faces of folks are halved, you will not show the interlocutors, but an nonsense, but concurrently everything won't bother whatsoever, only brings another element of realism on the picture.
Conclusion: Trier filmed a movie which had been passable for himself and powerful for almost every other director, which leaves a feeling of understatement and depth, to get at which you'll want to spend time and effort.