I haven't seen a film for twelve days - having gone cold turkey on drugs, alcohol, cigarettes, meat, sugar, and films simultaneously - in an effort to rid myself of dependency. The last film I watched was The Boss of It All, the first of Von Trier's films I have been exposed to that is neither brilliant or good. At the end of the film, the eccentric Danish film-maker says "Those who got what they came for, deserve it." I didn't get what I came for. So, I guess I deserved better. Funny that even when Von Trier makes a bad film it is thought provoking. I'm not sure I understood Boss, but it appears as if he intentionally made a bad film in order to differentiate between the people who understand his work and those who don't. There are people that blindly applaud what they think deserves applause rather than determining - on a case by case basis - if indeed it does. I am not one of those people. I will not praise Von Trier unless he deserves it. If this was his test, I passed. I'm not sure that I like being tested, but I can't complain. The majority of his films are brilliant. I will indulge the occasional pretentious experiment. Boss of It All got me thinking about Von Trier and about his films, and art-house films in general. I started wondering if he really is a genius, and doubting my own opinion. As I said, I think that was the point. I had twelve days to contemplate this. Twelve days of withdrawals to question reality.
Today was my first relapse. I lay down on my couch with my favorite cat and watched Lars Von Trier's Europa, the final installment of his Europa trilogy. It is the best World War II film I have ever seen. It is visually stunning, despite being wildly experimental. The use of colour against black and white is more effective, though less subtle, than the first of the Europa trilogy - The Element of Crime. It consistently appears as if it was produced in a different decade. Not just the film stock, as film-makers tend to employ when attempting to replicate another era. Everything. The way the actors stand. The compositions. Blocking. Facial expressions. Make-up. Like in Element, the attention to detail is exquisite. And then there is the film itself. A bold and original take on post war Germany that builds up to two incredible climaxes. It had me on the edge of my seat, tears welling up in my eyes. When it was time for the credits to roll I finally exhaled and said - out loud - "Holy Fuck."
10/5
Europa is my favorite of Von Trier's films. It is an absolute masterpiece of modern cinema. Whether or not I would have been as impressed without the contrast of Boss or the lengthy period of abstinence, I don't know. Maybe I would have given it seven out of five rather than ten. But it certainly deserves a higher rating than practically every other film ever made.
If I ever find a woman crazy enough to bear my children, I will insist that they watch this film; and, if they refuse, I will employ Clockwork Orange style eyelid clips.