Europe

Europe

Europe

  There was a time in which Lars von Trier was still a young and upcoming talent from the movie “cinematic nirvana” Denmark. For that our northern neighbor in the early years of motion pictures once the nation’s No. 1 movie was the world, which eventually fell into the decades of continual Hollywood dominance into oblivion. But in the eighties and early nineties, it was mainly Lars von Trier, who should ensure that Denmark has reappeared on the map of Filmverrückten around the world. And that it has remained until today, is thanks mainly to the difficult violently neurotic director in which you can never be sure what, then, is provocative and what is serious.

The naive Americans of German descent Leopold Kessler (Jean-Marc Barr) will return shortly after the end of World War II in Europe, specifically Germany and get hold thanks to his uncle (Ernst-Hugo Järegård) a job as a porter on the company Zentropa. Henceforth, he is undergoing a remarkable system of absurd rules that will establish the middle of the chaos in Germany, oh so holy discipline and order. In his travels across the ruins of Germany, he learns Katharina Hartmann (Barbara Sukowa), the daughter of the owner of Zentropa, which has provided during the war wagons for the transportation of Jews to concentration camps and who now weitermacht as though nothing happened. Of course, in love with Catherine, and Leopold, of course, is his love shamelessly exploited, because the underground organization of the Nazis, the werewolves are still active, and the unsuspecting sleeping car conductor in America is an integral part of their dark plans and machinations – a victim, the perpetrator . is

, Europe is a collection of quotations and references, a continuation of Kafka’s unfinished novel Amerika (except that the protagonist, Leopold Kessler, here the opposite way from America back to Europe takes up a deep bow to Hitchcock and the directors of Hollywood’s “Black Series” (which is de facto), especially the work of European immigrants, before the directors of neo-realism and expressionism, and not least, a daring experiment, in which back projections, the occasional splash of color on black and white or extreme optics and, above all provide the voice-over commentary by Max von Sydow an atmosphere of oppression and abandonment. The narrative voice off here plays a role, as they probably unique in film history, because in Europe it is the alter ego of the director, she directs and controls the action, the space and time, giving instructions and decide how an Old Testament God of life and death, weal and woe of the actors. Anyone who has seen the famous final scene of Europe, at the Jean-Marc Barr, trapped in a railroad car, submerged in water and fighting for his life, which is above all the voices have to remember her words: “I’m going to count to ten and you’re dead!” And just as it was made and the spectator, because the Almighty, omnipresent narrator dominates not only the players on the chessboard of the film set, but also the spectators in the darkness of the cinema. Because you’re never fully aware to whom to send commands Max von Sydow, a deliberate trick to quasi Lars von Trier exposes the way the seduction machine cinema, whilst exploiting its mechanisms.

Without a doubt Europa Lars Von Trier’s masterpiece of the early creative phase, a highly artificial film that boasts never before seen tricks and optics is, in principle, then something like a radical antithesis to purism and the formal austerity of dogma 95th Who Lars von Trier knows only by his later works, which should take a look at this movie sure to get to know the full range of his cinematic skills. A truly great film.

Title: Europe Original Title: Zentropa (revival) Country of production: Germany, Denmark, Sweden, France Year of production: 1990 (# ) Length: 112 (min) of material: Real Fiction

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