A film director and a script writer (performed by Lars von Trier and Niels Vørsel themselves) write a screenplay, in which an epidemic spreads about the whole world. Like the protagonist, they do not notice that a real epidemic is developing around them.
With a back-story (almost) as singular as his films, Danish director Lars von Trier was one of the most exceptional filmmakers to burst onto the international film scene in the 1990s. Unapologetically confident in his artistry and an unabashed provocateur, von Trier could kick up a fuss about his behavior, but his stylistic brio, extreme narratives, and ability with actors prevented such films as Zentropa (1991), The Kingdom (1994), Breaking the Waves (1996), and Dancer in the Dark (2000) from being eclipsed by their creator. Even as he openly sought a larger audience by making films in English, von Trier’s success helped resurrect Scandinavian cinema’s international prominence; his intense fear of flying ensured he’d never “go Hollywood.”
Raised by his radical, nudist Communist parents in an unconventional environment where, as von Trier once put it, everything was permitted except “feelings, religion and enjoyment,” von Trier blossomed into a neurotic, left-wing, movie-loving… read more
Probably the only Von Trier film I didn't really like. I mean it was ok, but the story felt too amateurish, focused more on trying to be clever than anything else. Which is a shame cause the b&w cinematography was astounding and it was really fun to see Von Trier act, playing himself. A lot of people here are mentioning this but it wasn't nearly as good as The Element Crime was, which is strange. Glad I saw it.
Von Trier's b&w hybrid of thriller, horror film and behind the scenes picture is hardly successful as any of the above. Was the sole entry in his filmography I hadn't seen and probably my least favourite. Takes a long time in getting to where its going with only the final reel really having any memorable moments. Feels very much like a first feature which it certainly isn't (the masterful 'Element of Crime' was).
This structure laid bare Trier's directorial method of putting in whatever comes into his mind: the film in the film was as kitch as you can get, and the ending was also a cheap-but-forceful gore fest. I really liked the closing song with funny lyrics and Tannhäuser melodies in synth pop. But the greatest part was how Lars and Niels acted out sublimating a shitty situation into their work.