Trier directed the comedy. Anybody who is even a bit familiar while using the work of the Dane, at the very first news of this, should at the least be amazed, and many more correct - not believe the source. Although actually, you will want to believe? Trier, firstly, is a pacesetter, someone who does not like walking the beaten path and literally re-opens cinema in reference to his every film. Filter systems? You will want to a comedy?
But Trier always knew how to outwit everyone and provide such a trick the jaw often went into an independent walk. He would not change himself these times either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, 123 movies classic, disgustingly banal understanding from the word? Lars is as opposed to that. Instead off this, he slipped the naive viewer into fusion from comedy, social drama, and also some semblance of sometimes a thriller or maybe a detective. The result would have been a movie that has been outrageously topical: about losers and selfish people; about how precisely people build and destroy walls of misunderstanding in relationships; the big game concerning the concern about not being loved, well, also about work atmosphere, which on the sane person, even very quickly, will complete a clerk, using its internal cockroaches the size of a little Godzilla.
In the beginning, it may well seem the film is very easy and poor in good fresh ideas, similar to a church rat for dollars. But it wasn't there. What was supposed becoming a sitcom turned into an extremely deep philosophical parable with social connotations. At the same time, no one turned off humor from the action, and there are even a number of moments after you laugh - not just somehow maliciously and deeply as part of your consciousness, but you may also frankly give your feelings a voice.
Trier, of course, plays together with the viewer, leaving probably the most delicious to the finale, and for the duration of the plot, its formation and setting, only throws small pieces, forcing emotions to figure, plus the head over to rest for time being. Only after the final credits, while you sit in bewilderment and then try to understand what the hell it was now, fecal material an office and gray mosaic slowly begin to produce in my head, in the actual picture of that is buried what only one of the most attentive and thoughtful viewer can see.
Trier discovers how to create the impression of a good storyteller and even if he manipulates, he does it exclusively for the main advantage of the viewer himself. Perhaps that's the reason the actors in the paintings always play in a manner that they don't create the impression of falsity and insincerity. It sometimes even seems that on the watch's screen there are the most real clerks, losers, actors, bosses and various inhabitants of a compact stuffy office within the picture. Trier does not need expensive, but what will there be, just at the least some interesting decorations. In The Biggest Boss, we come across a setting which enables the bottom in Manderlea and Dogville look fascinating inside background. At the least, it won't choke like a smaller, cramped and style of boring office space.
Realism is first and foremost, therefore music can also be useless. Will we often hear music in actual, just speaking to someone or planning on our daily bread? It is unlikely. ... So and we don't hear from Trier. Scenery, music, actors ... oh yeah! A new feature on the maestro also appeared in the modern film. Now actually is well liked acts as a storyteller, taking place stage along with his comments at the beginning, end and middle of the picture. Such performances look quite cute and charming, crowning the film just like as a smaller but bright cherry crowns the top a large and delightful cake.
Well, and a few words need to be said about the subsequent invention with the Danish genius - "Automavision” ;.Such a cool thing. After the 1st reports that the entire film was filmed with no 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 persons are halved, the camera will not show the interlocutors, but some sort of nonsense, but all at once everything won't bother in the least, but only brings another component of realism in to the picture.
Conclusion: Trier filmed a film which had been passable for himself and strong for any director, which leaves a sense of understatement and depth, to access which you should spend time and effort.
Good comedies are not harmless
por Felica Moench (2021-04-06)
Trier directed the comedy. Anybody who is even a bit familiar while using the work of the Dane, at the very first news of this, should at the least be amazed, and many more correct - not believe the source. Although actually, you will want to believe? Trier, firstly, is a pacesetter, someone who does not like walking the beaten path and literally re-opens cinema in reference to his every film. Filter systems? You will want to a comedy?But Trier always knew how to outwit everyone and provide such a trick the jaw often went into an independent walk. He would not change himself these times either ... Comedy? Well, of course. Did anyone really expect a comedy in the standard, 123 movies classic, disgustingly banal understanding from the word? Lars is as opposed to that. Instead off this, he slipped the naive viewer into fusion from comedy, social drama, and also some semblance of sometimes a thriller or maybe a detective. The result would have been a movie that has been outrageously topical: about losers and selfish people; about how precisely people build and destroy walls of misunderstanding in relationships; the big game concerning the concern about not being loved, well, also about work atmosphere, which on the sane person, even very quickly, will complete a clerk, using its internal cockroaches the size of a little Godzilla.
In the beginning, it may well seem the film is very easy and poor in good fresh ideas, similar to a church rat for dollars. But it wasn't there. What was supposed becoming a sitcom turned into an extremely deep philosophical parable with social connotations. At the same time, no one turned off humor from the action, and there are even a number of moments after you laugh - not just somehow maliciously and deeply as part of your consciousness, but you may also frankly give your feelings a voice.
Trier, of course, plays together with the viewer, leaving probably the most delicious to the finale, and for the duration of the plot, its formation and setting, only throws small pieces, forcing emotions to figure, plus the head over to rest for time being. Only after the final credits, while you sit in bewilderment and then try to understand what the hell it was now, fecal material an office and gray mosaic slowly begin to produce in my head, in the actual picture of that is buried what only one of the most attentive and thoughtful viewer can see.
Trier discovers how to create the impression of a good storyteller and even if he manipulates, he does it exclusively for the main advantage of the viewer himself. Perhaps that's the reason the actors in the paintings always play in a manner that they don't create the impression of falsity and insincerity. It sometimes even seems that on the watch's screen there are the most real clerks, losers, actors, bosses and various inhabitants of a compact stuffy office within the picture. Trier does not need expensive, but what will there be, just at the least some interesting decorations. In The Biggest Boss, we come across a setting which enables the bottom in Manderlea and Dogville look fascinating inside background. At the least, it won't choke like a smaller, cramped and style of boring office space.
Realism is first and foremost, therefore music can also be useless. Will we often hear music in actual, just speaking to someone or planning on our daily bread? It is unlikely. ... So and we don't hear from Trier. Scenery, music, actors ... oh yeah! A new feature on the maestro also appeared in the modern film. Now actually is well liked acts as a storyteller, taking place stage along with his comments at the beginning, end and middle of the picture. Such performances look quite cute and charming, crowning the film just like as a smaller but bright cherry crowns the top a large and delightful cake.
Well, and a few words need to be said about the subsequent invention with the Danish genius - "Automavision” ;.Such a cool thing. After the 1st reports that the entire film was filmed with no 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 persons are halved, the camera will not show the interlocutors, but some sort of nonsense, but all at once everything won't bother in the least, but only brings another component of realism in to the picture.
Conclusion: Trier filmed a film which had been passable for himself and strong for any director, which leaves a sense of understatement and depth, to access which you should spend time and effort.