It is 1933, and after leaving Dogville, Grace, her father, and his army of villains head south. They happen to stop in front of an iron gate in Alabama and a panicked young black woman runs up to the car from a plantation where white masters still rule black slaves.
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As a sequel to Dogville, it's a failure. The Grace character from the previous film is unrecognizable not just because she's portrayed by a different actress but as written in context to the previous film. This would have worked better as a standalone film cause there's a lot to recommend in this dark un-pc film. Seeing it long after I saw Dogville helped in judging it on its own merits.
Absolutely ingenious. I feel as if this film is rather overlooked when compared to Dogville. Both are incredible works of art and filmmaking. However I do agree with Mike, Grace's character in this film is very absurd considering what happened in Dogville (this did not ruin my enjoyment of the film). I'd also like to mention the entire cast is unbelievable. Even if Dogville packed a harder punch this is a great film.
In her own way, Brice Dallas Howard delivers a nice Grace: different from Nicole Kidman's, but still a fair and hopeful woman, caught up in an insidious situation, with a plot twist that I was not expecting. A nice follow-up to "Dogville", no doubt. I love Von Trier's minimal approach in terms of sets and scenarios in this yet-to-be-concluded trilogy about the USA.
Sur un thème proche, Von Trier et Tarantino ont produit deux fables aussi brillantes que radicalement distinctes. Face a la disproportion fantasmatique et cathartique d'un Django, Manderlay pose une abstraction toute en ambiguïtés, bien davantage nourrie aux "post-colonial studies" (on pense à l’œuvre de Frantz Fanon par ex.). Le générique de fin est un sommet de noirceur sarcastique. Et ce film transpire le talent!
Ayant vénéré Dogville, j'avais un peu peur d'être déçue par cette suite (comme cela est souvent le cas). Et bien, pas du tout.
Ce n'est pas une suite à proprement parler (pas les mêmes acteurs, pas de trop fortes références avec l'histoire de Dogville, ...). Par contre, on y retrouve ce mode de huis clos unique, cette extrême sobriété et ce regard sans fard sur la nature humaine.
Presque aussi magistral que Dogville.
DOGVILLE sequel. VON TRIER is boring at times but one accepts long demonstrations for their strong conclusions. In Manderlay end credits, the images of racism on BOWIE's "Young Americans" are simply awesome! ==== Suite de Dogville. Parfois ennuyeux, VON TRIER, mais acceptons ses longues démonstrations pour ses conclusions fortes. En générique de fin, les images du racisme sur "Young Americans" de BOWIE, magistral!
Lars von Trier annoys me. I agree with Anthony Lane of The New Yorker wrote in a review for the film, "Von Trier is not so much a filmmaker as a misanthropic mesmerist, who uses movies to bend the viewer to his humorless will," I've watched Manderlay in full length only because Bryce Dallas Howard performance and unusual film set.