This early triumph by Lars von Trier, which won no less than three prizes at Cannes, is one of his most bizarre yet accessible works: a feverish retooling of film noir, an unhinged thriller, and a visually mind-blowing odyssey into a nightmare of our past.
Director Lars von Trier’s magnum opus, The Kingdom is a TV phenomenon three decades in the making. A compulsively entertaining supernatural mystery, this incomparable blend of workplace comedy, potent melodrama, and nail-biting ghost story pitches science against superstition in unholy conflict.
A fascination with the extreme is written across all of Lars von Trier’s works, beginning with this mesmeric investigation of criminal minds. Captured in burnt sepia tones expressive of photographic fragments or uncertain memories, the ashen film is also evocative of a changing—crumbling?—Europe.
Lars von Trier takes a starring role in his second feature, a metafictional—and metaphysical—exploration of creative culpability. If the title suggests a resonance with our contemporary condition, Epidemic soon reveals itself as a playfully ironic portrait of the artist-philosopher as a young man.
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