Ohjaus:
Lars von TrierSävellys:
Joachim HolbekNäyttelijät:
Jean-Marc Barr, Barbara Sukowa, Udo Kier, Ernst-Hugo Järegård, Erik Mørk, Jørgen Reenberg, Henning Jensen, Eddie Constantine (lisää)Suoratoistopalvelut (2)
Juonikuvaukset(1)
"You will now listen to my voice . . . On the count of ten you will be in Europa . . ." So begins Max von Sydow’s opening narration to Lars von Trier’s hypnotic Europa (known in the U.S. as Zentropa), a fever dream in which American pacifist Leopold Kessler (Jean-Marc Barr) stumbles into a job as a sleeping-car conductor for the Zentropa railways in a Kafkaesque 1945 postwar Frankfurt. (jakelijan virallinen teksti)
(lisää)Arvostelut (4)
Trier's fascination with the surface may manifest itself unhealthily in this film, yet the processing of the deliberately clichéd and archaic romance got to me completely - a deep film regression into post-war Germany serves Trier primarily as a disillusioning metaphor for the destruction of human ideas and their constant abuse and butchery. Dirty, rusty and dilapidated scenery (often even theatrically exaggerated and deliberately styled to reveal its illusiveness) hosts Trier's withdrawn, yet extremely intense characters. Their confused efforts are covered by a captivating canvas, on which one again and again encounters the overwhelming force of history, rushing like a train along the tracks to the next point zero. Europe is a hypnotic film that uniquely captivated me with more so with its stylization than depth of thought. However, this does not detract whatsoever from its hideous beauty.
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The viewer's experience is somewhat spoiled by the fact that this is the imaginary climax of a trilogy whose first two parts were not released in the Czech Republic. I’m therefore reviewing this separately from them. Given the subject matter, I often thought of Holland's Europa Europa, during the screening, which is quite logical. Von Trier's formal exhibitionism here brings the combination of black and white and color film into the gears of the plot, the claustrophobic setting of the train compartments, so symbolic of the Holocaust, as if the schizophrenia of the first months after April 1945, viewed through the lens of a slightly naive American, were not enough. A challenging emotional film with a slightly surprising denouement.
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Lars von Trier is a great filmmaker. There is little doubt about that. He has great ideas, which can be found Europa. His conception of post-war Germany is extremely interesting and original. The narrator's voice is excellent - if we can call him that - as it clearly dictates how the story will unfold. The countdown is just brilliant. And yet, the film couldn't captivate me enough to consider it a great work overall.
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Instead of an explicit look at the war as such, Lars von Trier has opted for a more social/psychological film, in which he captures the hopelessness of the post-war situation in Germany very well. While the main story is undoubtedly suspenseful and even gripping in some moments, it is also interesting to see how the war and its consequences are seen by supporting characters (especially in the area of interpersonal relationships). It's certainly not Lars' best work, but the excellent visuals, some of the stronger moments, and the immersive effect in the narrative interludes give it an indelible place in Trier's filmography.
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