The first film Von Trier after returning to Cannes
Danish director Lars von Trier for 8 years became an exile in the director’s world. 8 years ago he unsuccessfully joked about Hitler and the Nazis at the press conference of the film “Melancholy”, after which he was not invited to Cannes. This year, the director returned to the Cote d’Azur with a new picture. His return to the Cannes Film Festival was so eagerly awaited that it was already seven o’clock in the morning for the show at half past nine.
Danish director Lars von Trier is one of the few Cannes superstars (among them, for example, Haneke and Dzharmush) who this year brought their new cinema to the Cote d’Azur.
The plot of the new film unfolds around the engineer and architect Jack (Matt Dillon). His red minivan is stopped by a talkative lady with a jack (Uma Thurman). He was not going to kill her, but she asked for it. Ahead of the film there are four more “incidents”, and already from the second it becomes clear that the hero is a dummy who has no idea what he is doing.
Of course, Jack considers his murders to be high art, he appears to the public as Mr. Sophistication, and most of all he wants to recognize his masterpieces (David Bowie’s Fame hit the soundtrack as a soundtrack). To do this, he will strangle and cut, freeze and photograph, trying to put out the word “eternity” from the corpses, but only “mediocrity” is obtained. Throughout the film, he conducts a dialogue with his critic, spectator and guide to hell Virgil (Bruno Ganz), which pits pseudo-intellectual theories, which feature sweet wines and the architecture of the Gothic cathedrals. From these conversations we can learn many familiar artists and someone else.
“How far can an artist go and go unpunished?” He asks from the screen, there is no longer a taboo that the director has not already broken, there are no more pain points in which he has not yet stabbed a knife.His new film is about the creative quest for a maniac , gradually turning from a neat tihoni with obsessive-compulsive disorder into a chaotic sadist without a sense of proportion.
Lars von Trier is not the first time using his movie as a psychotherapy, only in “The House that Jack Built” he no longer winks from the screen and does not make thin veiled hints. “I’m an impostor! I’m an impostor! “- Lars von Trier shouts all the way.