Yet another year with yet another update.
2012 version can be found here.
2013 version can be found here.
Director Lars von Trier depicts the vivid moral informative film about the ruthlessness of civil society. Filmed in a minimalist style, that until recently was unrecognized, the Danish filmmaker depicts the quite familiar themes of guilt and forgiveness, good and evil, and the moral chasm of humanity.
"Evil can arise anywhere, as long as the situation is right." So says Lars von Trier on his own quiet, sly and quite frankly brilliant work, Dogville. A simple clean stage and a camera that focuses on nothing more than what it needs to, placed perfectly as if we're watching a book unfold. Classical music plays and a calming narrator reads text loaded with its own deeply dark edge of humor, as a tale of natural human vileness unfolds with an unmatched originality and extreme minimalistic beauty.
Dogville is dirty, harsh, dark and grim, and the slow decent into this in the almost three hour run time is disheartening in its human cruelty - made not unbearable by only the…
I’m blurting this review out just minutes after watching. Something I don’t normally do, but I just can’t contain myself, and know I’m going to have to re-watch more than once to write a proper one. Please excuse the ramblings.
Dogville has been hanging over my head for a while now. As per my usual practice, I tried to avoid any pre knowledge. All I knew is that a: it was Lars Von Trier, b: it was 3 hours long, c: it starred Nicole Kidman, and d: worst of all, it had ShakyCam. Not a good start. I have a mixed history with Von Trier, and I’ve only seen two of his films, Melancholia, which I quite liked, but was…
Holy hell. Dogville is as close to a visceral, visual depiction of pure, unfocused hatred as I have ever seen. It is not depressing, it is not sad, it's just mean. It is not misogynist, misandrist, or even anti-American; this is misanthropy, plain and simple. Here is the reduction of the flaws within every living human into their vilest essence, turning mankind into little more than, you guessed it, a dog - one that doesn't know right from wrong, and one that must be dissuaded from instinct and nature to perform in ways deemed appropriate by self-proclaimed moral superiors. Thus returns the familiar question of 'why' behind the film's production - as far as I can tell, the 'why' is…
Those who remember my half a star ‘Melancholia’ review of a few weeks back know how I’m fully capable of hating on Lars von Tier, self-proclaimed legendary filmmaker with a catalogue featuring some of the strangest films (that are actually being watched) in modern history. For me to dislike something to the extent that I rate it that low, something about the movie must entirely put me off and only an extremely bad or an extremely good director can do so in my book. Lars von Tier is the latter kind of film-maker and proves to be so with this 2003 career-output: ‘Dogville’. Set forth in nine chapters and a prologue, it chronicles the years spend in the titular village…
Part lovely fable, part moral archaeology, part mirror, it delivers a scathing judgment on human nature, moral righteousness, greed and selfishness. And that isn't the half of it. An overt condemnation of consumerism, capitalism, and American imperialism, it lambasts every part of human nature exploited by capitalist societies.
It explores all of this in the form of a fable about Grace, a young woman of privilege who escapes to all-American small town Dogville, where the simple people living in hard times are romanticized to the point where Grace fails to see their human failings and forgives them anything because she owes them and because she is arrogant enough to believe that people living through hard times should be forgiven for…
i will never visit an apple farm.
Human beings are the worst, according to crackpot Danish Dogme enthusiast Lars von Trier in his bleak, minimalist, 1930’s set Nicole Kidman-bashing caper Dogville. On the surface, this tale of a fugitive on the run from gangsters who hides out in the titular isolated US town, only to become exploited and abused by those she saw as saviours, doesn’t do itself any favours; it’s set on one theatrical stage, a troupe of talented actors open and close invisible doors, the self-important performances scream awards desperation, and it’s nearly three freakin’ hours long. But its self-imposed limitations and almost-documentary style give the drama an uncomfortable intimacy that rivets your eyeballs to the screen. Even the audience becomes complicit in an ultimately devastating drama that extolls Ayn Rand’s theory that altruism is a myth where no one comes out looking good.
Check out what the rest of the Cinapse crew thought here:
This review reportedly contains spoilers. I can handle the truth.
grace is an altering force
Profundo y arriesgado análisis sociológico con una muy original puesta en escena. Termina por alargarse, pero es una experiencia única, con unas muy buenas interpretaciones.
"I think the world would be better without Dogville." In the case of the film, I think the world is a much better place with it.
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).