[opening lines]

Narrator: You will now listen to my voice. My voice will help you and guide you still deeper into Europa. Every time you hear my voice, with every word and every number, you will enter into a still deeper layer - open, relaxed and receptive. I shall now count from one to ten. On the count of ten, you will be in Europa. I say: one. And as you focus your attention entirely on my voice, you will slowly begin to relax. Two - your hands and your fingers are getting warmer and heavier. Three - the warmth is spreading through your arms, to your shoulders and your neck. Four - your feet and your legs get heavier. Five - the warmth is spreading to the whole of your body. On six, I want you to go deeper. I say: six. And the whole of your relaxed body is slowly beginning to sink. Seven - you go deeper and deeper and deeper. Eight - on every breath you take, you go deeper. Nine - you are floating. On the mental count of ten, you will be in Europa. Be there at ten. I say: ten.
[last lines]

Narrator: In the morning, the sleeper has found rest on the bottom of the river. The force of the stream has opened the door and is leading you on. Above your body, people are still alive. Follow the river as days go by. Head for the ocean that mirrors the sky. You want to wake up to free yourself of the image of Europa. But it is not possible.
Leopold Kessler: I think I understand unemployment in Germany much better now. People just can't afford to work here.
Lawrence Hartmann: The Americans are clever. First they get hold of the IG Farben's chemical patents - and then they destroy the plants to prevent production. All in the name of "demilitarization." I really admire the Americans.
Lawrence Hartmann: Mr. Kessler, did you know that many factories in Germany were owned by Americans during the war?
Uncle Kessler: Priest are necessary discomfort

Europa Quotes

Extended Reading

Europa short comments

Branson 2022-03-16 08:01:01

God's work, five bodies cast to the ground. The audio-visual effect is full of futuristic sense, and it is not out of date even today. The second-person narration from God's perspective, the bizarre juxtapositions and fluid transitions between black and white and color, and the shots that spin freely and zigzag like a snake are all particularly captivating. The film's ideological connotation is also very strong, which is mainly reflected in the selection of materials. I've seen several Lars Von Trier films that have not been repeated in style, which is genius.
Karlee 2022-03-20 09:03:08

First read the final chapter of the European trilogy, the Nazi legacy after the war, the film has a dazzling technique that is closer to German expressionism, and double experiments on image and narrative. The paragraphs of black and white color conversion are very amazing, and the narration is a The hypnosis of an old man, in a unique way, clarifies that "pure good brings ultimate evil".