All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Dancer in the Dark
You don't need eyes to see.
Selma, a Czech immigrant on the verge of blindness, struggles to make ends meet for herself and her son, who has inherited the same genetic disorder and will suffer the same fate without an expensive operation. When life gets too difficult, Selma learns to cope through her love of musicals, escaping life's troubles - even if just for a moment - by dreaming up little numbers to the rhythmic beats of her surroundings.
And thus, the chorus repeats.
Again, Lars von Trier uses an homage/satire of conventional Hollywood genres to close another thematic trilogy - film noir with Europa, and musicals here in Dancer in the Dark. Using a genre setting allows for a more inviting film, a chance to simplify the focus - the striking visual sensibilities of Europa and audial banquet of Dancer in the Dark. Although, even though the genre may be familiar, von Trier is able to spin them just a bit off-center, without having to waste time setting up the conceit or the conceptual adjustment period to more radically unique films like The Element of Crime and The Idiots. Both here and in Europa, he presents something known,…
Director: Lars Von Trier (Final Film)
Dancer in the Dark is undoubtedly a very predictable affair. Almost hilariously, embarrassingly obvious with every stroke simply because this is Von Trier. However, I don't think it's detrimental on an overall level because he manipulates not only the story to get exactly as he wants it to go so to draw out as depressing a story as he possible can imagine but he manipulates the very fabric of every aspect to such a fine, elaborate detail that it stops becoming another Von Trier film about punishing us for no reason but a truly emotive monster of a film.
Obviously Von Trier is manipulating us as well, and I think it's natural…
This is by far the saddest movie I have ever seen. I could not stop crying for the entire last hour of the film. Dancer in the Dark is such a horrible film, and I hate Lars for making a movie so fucking manipulative. I would call this film overly emotional and that it exists solely to get a response from the audience, however it feels authentic. I enjoyed that Lars was taking me on this emotional journey, and although I don't agree with Lars' pessimistic ideology, I still appreciate how depressing this film is.
What I really like about this film is that it is really hard to watch. Not just in its subject matter, Lars makes the film…
Dancer In The Dark is a difficult film to watch. We witness the story of a Czech mother struggling to get by in America, clinging onto her job and hoping to provide a future for her son. Life is hard for young Selma as we see her saving each cent she can find for a much more noble cause, sacrificing herself in the process. A bleeding heart story for sure fully exploited by Lars Von Trier and his motion sick camera.
There are two problems that are hard to overcome in the first third of the film. One being the sharp editing that keep us within the scene but jumps a couple of seconds ahead…
I get it. I finally know what the hell Lars is doing.
Okay. So firstly, this so-called conclusion to the "Golden Heart Trilogy" is basically the standard by which all polarizing films should be measured. It's just that divisive. I felt my star rating dropping from five to zero and back again, more times than I could count. Of course by this point the star rating is unnecessary and silly, and it's obvious that we have a winner. Lars von Trier insisted that a film should be like "a stone in your shoe", and he is a man of his word. Any film that finds its way past your mind's proverbial shoe and pokes directly into your unprotected subconscious deserves…
/tv/ Film Club Week Three: Bjork
In a musical, nothing dreadful ever happens.
Dancer in the Dark is a film that I opened myself up to. Fully. I desperately wanted this to be the Von Trier film that would turn me on to his style, but I found that it actually closed itself off to me and shoved me further away when it comes to understanding the infamous director.
Dancer in the Dark was not a bad experience, but a rather underwhelming one considering the high praise I constantly hear about it. Admittedly I went in to the film carrying 3 (kind of) negative variables:
1. I hadn't warmed to Von Trier yet
2. I don't really…
Well, this time I only got 20 minutes into this movie before my eyes started welling up. And, though I've seen it many times before, I was still a sobbing mess at the end. This is a perfect movie, whose imperfections are part of its perfection. It's a masterpiece of (melo-?) dramatic writing (one that betrays the prickly and misanthropic Lars von Trier to be a hopeless romantic and tender humanist) -- someone once said that Dogville would have won the Pulitzer if it had been written as a play, and I think that's equally true here; and yet it's so inherently cinematic that I can't see it working as a play (I'm trying to imagine a stage version and…
made me cry so hard that i got a migraine ✌
I feel like I missed something...
Just beautiful. The story itself is amazing, and the way it develops and changes is so brutal.
Beautiful screenplay and cinematography.
Björk's acting is beyond words.
And the end, oh the end...
A series of thoughts I had:
no. they can't possibly. what. no. I don't care. They're not doing that. That didn't happen.
One of the greatest musicals of all time EVERYBODY WATCH IT
And that concludes Story Time With Jessi
Dear God, when "Cvalda" kicks in... pure fucking transcendence, from the grainy images to the impossibly fast cuts to the dancing; a true moment of cinema where I felt my heart rise. Almost unbearably sad, but what separates von Trier's Golden Hearts trilogy ("Greatest Trilogy of All Time" - Yours Truly) from standard issue misery porn is the agency he gives his protagonists combined with their heartbreaking goodness. Lars manages to create women who rage against an unforgiving world that doesn't understand what goodness is, and in turn creates portraits that emphasize and celebrate what it means to be human. You may say von Trier is a demented masochist; I say he's the most empathetic and humane filmmaker maybe ever. Maybe he's both, and the joke's on us.
Damn you Lars. How did you get me to like (maybe not the right word) this so much?
You can't empathise with a character who exists entirely separately from the rest of the world around them.
Selma Jezkova (Bjork) does not exist in the same world as her co-characters. Sure, they want to live in the same world as her, at least four of them are a little bit in love with her in their own ways, but she doesn't notice, care, or recognise it, because she lives in her imagination of musicals and hopes.
Therefore, when bad things happen to her, it's hard to really care. And, to be honest, I couldn't be bothered trying. Every time you come close, Lars sticks in a musical number. Sure, Lars is terribly clever and aloof and cocking a snook at established genres. But when Mr von Trier does a musical (uhm … Dogme manifesto, anyone?) how good can it be?
Answer: not much.
fucking hate this movie right
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game