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Dänemark, Schweden, 2003
Drama, Geschichtsfilm, Avantgarde

Darum geht's

Auf der Flucht vor einer Gangsterbande landet die schöne Grace in einem scheinbar idyllischen, abgelegenen Bergdorf am Fuße der Rocky Mountains. Die Dorfgemeinde nimmt sie nur unter der Bedingung auf, dass sie sich dem Gemeinschaftsleben anpasst und den Bewohnern bei der Arbeit zur Hand geht.

Dogville Regie Lars von Trier
This complex relationship of the conditional and unconditional suggests that there is never a choice between modes of hospitality or forgiveness, that there is always a constant tension and negotiation between the two collapsible poles. If this is the case, is Grace’s continual forgiveness truly unconditional? Could not Grace’s infinite forgiveness of Dogville’s conditional hospitality… also be considered a form of thematizing violence?
July 22, 2005
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Say what you will about Lars von Trier—I won’t deny that he can be an obnoxious self-promoter, and at times…, a bad director—but he absolutely does not unthinkingly mimic the hand-me-downs of artistic expression. Does this automatically ascend von Trier to the realm of political filmmaking? I still don’t think so—there’s too much shock-the-bourgeoisie silliness remaining in his creative instincts—but it does make him capable of producing some brilliant social commentary.
April 12, 2004
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Von Trier’s elegantly angry Dogville, despite its predilection for audience-goosing, is an exhilarating pilgrimage into Darkest Human Nature: as emotionally exacting as we’ve come to expect from the director, and as primally insinuating as well. As a technical exercise, it’s unimpeachable; each camera set-up, each metaphysical visual layer, each situational theater gambit validates the artform.
October 03, 2003
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