Lars von Trier’s The Kingdom is erupting with abstract ideas that owes an invaluable obligation to David Lynch’s Twin Peaks. Set in the neurosurgical department of Copenhagen's Rigshospitalet, the primary hospital in the city, it observes various characters as they experience strange physical and metaphysical occurrences. It's a masterclass in writing and employs a minimalist visual style which puts the emphasis on plot, characters and dialogue.
Similarly to what Stanley Kubrick did with his adaption of the ghost-tale The Shining, by reconstructing it into a psycho drama, von Trier assumes a clearly ludicrous proposition, a hospital besieged by demons, and endeavors to investigate how actual people would respond to the trauma. Its playfully successful as a parody of the medical profession and sees von Trier, as is typical, inflaming his audience. It all works to von Trier's strange and arid tastes, comedy occasionally punctuated with frights, frequently transmitted through suggestion.