Trier directed the comedy. Everyone that is even slightly familiar while using the work of your Dane, at the 1st news of this, should not less than be amazed, and many more correct - not believe the source. Although the fact is, you should believe? Trier, firstly, is an innovator, men who isn't keen on to walk the beaten path and literally re-opens cinema along with his every film. Consider? Have you thought to a comedy?
But Trier always knew tips on how to outwit everyone and give this type of trick the jaw often went into a completely independent walk. He didn't change himself this time around either ... Comedy? Well, of course. Did anyone really expect a comedy while in the standard, classic, disgustingly banal understanding with the word? Lars is dislike that. Instead of most this, he slipped the naive viewer into fusion from comedy, social drama, and perhaps some semblance of the thriller or simply a detective. The result was obviously a movie which had been outrageously topical: about losers and selfish people; on how people build and destroy walls of misunderstanding in relationships; a show with regards to the the fear of not loved, well, also about any office atmosphere, which from the sane person, even very quickly, will come up with a clerk, having its internal cockroaches the dimensions of a small Godzilla.
At first glance, it may seem the film is amazingly classy and poor in good fresh ideas, as being a church rat for dollars. But it wasn't there. The fact that was supposed being a sitcom became a fairly deep philosophical parable with social connotations. While doing so, not one person put off humor from the action, and you can even find a handful of moments while you laugh - but not only somehow maliciously and deeply as part of your consciousness, but you can even frankly give all your other worries a voice.
Trier, remember, plays using the viewer, leaving one of the most delicious towards the finale, and while in the plot, its formation and setting, only throws small pieces, forcing emotions to function, as well as go to rest for time being. Only after a final credits, when you sit in bewilderment and try to understand what the hell it had become now, fecal material a business office and gray mosaic slowly begin to create during my head, in the entire picture of which is buried what only the best attentive and thoughtful viewer can see.
Trier can create the sense of a real storyteller and perhaps if he manipulates, he does it mainly for the benefit of the viewer himself. Perhaps this is why the actors in her paintings always play such that they just do not create the sense of falsity and insincerity. Often it even entirely possible that on the watch's screen there are definitely the most real clerks, losers, actors, bosses and other inhabitants of a smaller stuffy office within the picture. Trier doesn't have expensive, but what possibly there is, just at the very least some interesting decorations. In The Biggest Boss, there are an environment which enables the floor in Manderlea and Dogville look quite interesting inside the background. A minimum of, it does not choke like a compact, cramped and type of boring office space.
Realism is most importantly, therefore music is also useless. Do we often hear music in true to life, just discussing with someone or considering our daily bread? It is unlikely. ... So and we don't listen to Trier. Scenery, music, actors ... oh yeah! A new feature on the maestro also appeared in the newest film. Now also, 123 movies he provides a storyteller, taking place stage along with comments at the start, end and core of the picture. Such performances look quite cute and charming, crowning the film in the same manner as a little but bright cherry crowns the top of a large and beautiful cake.
Well, and some words really should be said about the following invention in the Danish genius - "Automavision” ;.A real cool thing. After the 1st reports how the entire film was filmed with no participation of the operator, I somehow expected more tin, much over I received while in the end. Well, yes, in places faces of individuals are halved, the digital camera doesn't show the interlocutors, but an nonsense, but as well everything won't bother in any respect, but only brings another part of realism in to the picture.
Conclusion: Trier filmed a show that has been passable for himself and powerful for any other director, which leaves sense of understatement and depth, to reach which you need to spend considerable time and effort.
Good comedies are not harmless
por Adrian Bonwick (2021-04-07)
Trier directed the comedy. Everyone that is even slightly familiar while using the work of your Dane, at the 1st news of this, should not less than be amazed, and many more correct - not believe the source. Although the fact is, you should believe? Trier, firstly, is an innovator, men who isn't keen on to walk the beaten path and literally re-opens cinema along with his every film. Consider? Have you thought to a comedy?But Trier always knew tips on how to outwit everyone and give this type of trick the jaw often went into a completely independent walk. He didn't change himself this time around either ... Comedy? Well, of course. Did anyone really expect a comedy while in the standard, classic, disgustingly banal understanding with the word? Lars is dislike that. Instead of most this, he slipped the naive viewer into fusion from comedy, social drama, and perhaps some semblance of the thriller or simply a detective. The result was obviously a movie which had been outrageously topical: about losers and selfish people; on how people build and destroy walls of misunderstanding in relationships; a show with regards to the the fear of not loved, well, also about any office atmosphere, which from the sane person, even very quickly, will come up with a clerk, having its internal cockroaches the dimensions of a small Godzilla.
At first glance, it may seem the film is amazingly classy and poor in good fresh ideas, as being a church rat for dollars. But it wasn't there. The fact that was supposed being a sitcom became a fairly deep philosophical parable with social connotations. While doing so, not one person put off humor from the action, and you can even find a handful of moments while you laugh - but not only somehow maliciously and deeply as part of your consciousness, but you can even frankly give all your other worries a voice.
Trier, remember, plays using the viewer, leaving one of the most delicious towards the finale, and while in the plot, its formation and setting, only throws small pieces, forcing emotions to function, as well as go to rest for time being. Only after a final credits, when you sit in bewilderment and try to understand what the hell it had become now, fecal material a business office and gray mosaic slowly begin to create during my head, in the entire picture of which is buried what only the best attentive and thoughtful viewer can see.
Trier can create the sense of a real storyteller and perhaps if he manipulates, he does it mainly for the benefit of the viewer himself. Perhaps this is why the actors in her paintings always play such that they just do not create the sense of falsity and insincerity. Often it even entirely possible that on the watch's screen there are definitely the most real clerks, losers, actors, bosses and other inhabitants of a smaller stuffy office within the picture. Trier doesn't have expensive, but what possibly there is, just at the very least some interesting decorations. In The Biggest Boss, there are an environment which enables the floor in Manderlea and Dogville look quite interesting inside the background. A minimum of, it does not choke like a compact, cramped and type of boring office space.
Realism is most importantly, therefore music is also useless. Do we often hear music in true to life, just discussing with someone or considering our daily bread? It is unlikely. ... So and we don't listen to Trier. Scenery, music, actors ... oh yeah! A new feature on the maestro also appeared in the newest film. Now also, 123 movies he provides a storyteller, taking place stage along with comments at the start, end and core of the picture. Such performances look quite cute and charming, crowning the film in the same manner as a little but bright cherry crowns the top of a large and beautiful cake.
Well, and some words really should be said about the following invention in the Danish genius - "Automavision” ;.A real cool thing. After the 1st reports how the entire film was filmed with no participation of the operator, I somehow expected more tin, much over I received while in the end. Well, yes, in places faces of individuals are halved, the digital camera doesn't show the interlocutors, but an nonsense, but as well everything won't bother in any respect, but only brings another part of realism in to the picture.
Conclusion: Trier filmed a show that has been passable for himself and powerful for any other director, which leaves sense of understatement and depth, to reach which you need to spend considerable time and effort.