The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
A quiet little town not far from here.
A barren soundstage is stylishly utilized to create a minimalist small-town setting in which a mysterious woman named Grace hides from the criminals who pursue her. The town is two-faced and offers to harbor Grace as long as she can make it worth their effort, so Grace works hard under the employ of various townspeople to win their favor. Tensions flare, however, and Grace's status as a helpless outsider provokes vicious contempt and abuse from the citizens of Dogville.
"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…
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 have tried to think up a review but I just can't convey my thoughts. This one is just... I mean, I liked it a great deal -- but at the same time it was horrible and made me want to die? It's a believable and slow descent into horrors, but the unconventional nature of its construction makes it almost frightening.
It's like that time I tried shrooms. It was mellow and subdued, but still terrifying.
Is any of this making any sense?
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…
Fuck you Lars. Thanks for making me so angry that I feel physically ill. An absolutely disgusting experience that I now regret going through a second time. NEVER again.
But by Jove was it impressive.
Película rara y coñazo a partes iguales. Algunos planos no están mal.
VERY close to 4 1/2 stars on this one. While Dogville may not be perfect in my mind, it is certainly a film that I will be thinking about for a long time. The stage-play style is surprisingly effective and the story is compelling throughout all three hours. These opinions may be the exact opposite for someone else and I wouldn't blame them. But I really think Dogville is something special.
According to von Trier, the point of the film is that "evil can arise anywhere, as long as the situation is right".
Director Quentin Tarantino included Dogville in his list of top 20 films released since 1992 (the year he became a director).
Bitchville had it coming
Probably one of the best films i've ever watched because how unexpectedly good it is. more like my most favorable.
I love movies and I love stage plays. But I don't love a combination of both. The movie is still pretty good.
This is a powerful film that shows the dehumanisation of Grace as well as the nonhuman, animal nature of the towns inhabitants. The grey and sparsely delineated stage of the town formalises its inhabitants in a space that abstracts human bodies and values into an impersonal mode of being.
The star image of Nicole Kidman is savagely undermined and then devastatingly reasserted at the films close. The presence of the dog is also interesting, represented by a meagre outline on the ground until the final shot where this cipher transforms into a live action canine. Animals cannot act, they do not obey the laws of the social lines in the ground, and this last shot seems to suggest the freedom of animal, nonhuman nature in all its savagery.
As in many of his films, von Trier presents the human inconvenient condition that lays behind the politeness of daily situations, through the eyes of a woman who suffers stoically because of the insidious relationships she establishes. Nevertheless, this idea is brought in this production to its highest form, as this is just what the film is: everything is literally naked, exposed, making even more evident the things that we usually try to hide in our privacy due to the rules of social interactions.
The storytelling trascends the filmish style, which is fused with elements of theater and literature. Nine different chapters are told with classical mussic by an off-voice, whose observations mix a very dark humor with the…
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