The impression that Lars von Trier gave me this time was unexpectedly biased towards "classical literature and art". The narrative style and font cards of different chapters, screen segmentation, image overprinting and perspective, as well as memorable montages. I think of Greenaway's "Scent of Lust" and "Forbidden Books by the Pillow", as well as the works of the great French New Wave directors Resnais and Godard. And the unfamiliar knowledge such as literature, mathematics, philosophy, biology, and music that are constantly thrown out in the dialogue between the hero and heroine are even more difficult to distinguish between true and false, fascinating, and even produce the effect of laughter. To this extent, Lars has grasped the essence of European art films to the greatest extent, and used the most authentic Nordic cold humor to bring out comedy effects.
Regarding the most important themes, the director does not take any critical or praiseworthy attitude. On the contrary, it expresses the most secretive and shameful topics of women in a light and humorous tone, and uses shocking metaphors to illustrate the most complex desires of human beings. The statement between love and sex is worth pondering, although there is still some kind of cliche in the melodrama, and the analysis of "addiction" does not seem to have a deep interpretation. Maybe there will be an answer in the next episode.
It is a little unfortunate that each independent chapter is independent, and there is no effective coherent thread between them. If it's just a running account-style memoir, at this level, it really lacks any dazzling breakthroughs. However, on the whole, Lars von Trier is still at the forefront of today's art film industry as he has always been an expert in making gimmicks and a urchin who is not astonishing in terms of film style.
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