Posts Tagged ‘Lars von Trier’

  • Talking Lars Von Trier on The Director’s Club Podcast

    18

    With the Cinecast on break for this week, you can get a bit of your Rowthree podcasting fix by heading over to The Director’s Club Podcast where yours truly sat in to talk with Jim Laczkowski and Matt Marko about all things Lars Von Trier. The focus is mainly on his stylistic Europa (aka Zentropa) and his spiritual masterpiece, Breaking The Waves, but the entire gamut, from feature films, TV projects and screenplays are covered. Also, an extended conversation on how not to watch Spielberg’s E.T., some chat about Aaron Sorkin’s The Newsroom, and a little more love for Oliver Stone’s Savages.

    The Director’s Club Podcast: Episode 38

  • Cinecast Episode 236 – Ocular Coitus

    21

    While our friend Matt Gamble is still on the mend (not from a boating accident), Kurt and Andrew grew a bit tired of executing these shows together all alone and reached towards the heavens above for this episodes guest host: Aaron Hartung (aka the dude who lives upstairs). Aaron also happens to work for the best cinema chain in town, Landmark Theaters; not only does he seem to know his movie stuff, he’s got a voice for radio to boot.

    We missed last week’s episode due to other obligations and illness, there is a LOT to get to this week. From Lars von Trier’s visually rich disaster/depression epic to the long awaited new Alexander Payne film (it has indeed been six years) we cover your auteur cinema-making-guys. But wait, there’s more: Fifties sex icons, furry-little-singing-nostalgia-engines(tm) and a whole lot of early cinema history enshrined in a Martin Scorsese ‘kids film.’ Enjoy this double-digest episode of the show: It’s time to start the music, it’s time to light the lights, it’s time to talk death, depression and the urgent need for knowing our history on the Cinecast tonight.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_11/episode_236.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Review: Breaking the Waves (1996)

    0

    With 1996’s Breaking the Waves, Lars von Trier made his first proper venture into the territories of female martyrdom and suffering that he would become so well known for. It features one of his most memorable characters: Bess McNeill (Emily Watson in a one-of-a-kind performance), a child-like young woman who lives with her mother (Sandra Voe) and sister Dorothy (Katrin Cartlidge) in an isolated coastal community in Scotland. At the start of the film, she gets married to Jan (Stellan Skarsgård), who works on an offshore oilrig. Their early days together are happy ones, but he soon returns to the rig to continue his work, plunging the fiercely affectionate Bess into sadness. Then disaster strikes when an accident leaves Jan paralyzed. After a period of slow healing and depression, he makes an unusual request of her: Bess is to pursue sexual encounters with other men and tell him about them as a sad substitute for the moments of carnal bliss they once shared together. With difficulty, Bess complies, leading to tragic consequences in her relationships with Jan, her family, the town and God.
    » Read the rest of the entry..

  • Review: Europa (1991)

    7

    Being the third and final film in Lars von Trier’s Europa trilogy, Europa occupies quite a pivotal place in the Danish director’s career. At the time, it was his most thematically and stylistically ambitious achievement, escalating his ongoing study of European society to impressive new heights. At the Cannes Film Festival, it received no fewer than three awards, including one for “Special Artistic Contribution” – yet this didn’t keep von Trier from playing the sore loser when he didn’t get the Palme d’Or by calling Jury president Roman Polanski a midget. As if in response to this “loss,” von Trier then embarked on a new stage in his work, adopting the rougher, more emotionally lacerating approach seen in films like Breaking the Waves (1996), Dancer in the Dark (2000) and Dogville (2003) that he is perhaps best known for. This drastic shift makes Europa all the more fascinating as an exhilaratingly bold flirtation with large-scale filmmaking and outright spectacle.

    Jean-Marc Barr stars as Leopold Kessler, a naïve American who goes to Germany shortly after the end of World War II to work as a sleeping car conductor. Accompanied by his German uncle (Ernst-Hugo Järegård), he begins to socialize with the Hartmann family who run the Zentropa railway line. He becomes romantically involved with Katharina (Barbara Sukowa), daughter of the company’s owner, Max Hartmann (Jørgen Reenberg), while facing pressure from both an American colonel (Eddie Constantine) and the branch of Nazi supporters known as the Werewolves to aid their respective sides. Eventually, the non-committal Kessler is pushed to finally decide where his loyalties truly lie.
    » Read the rest of the entry..

  • Review: Epidemic (1987)

    1

    For the second film in his Europa trilogy, Lars von Trier went in a noticeably different direction than the one he tread for his debut effort, The Element of Crime (1984), and the trilogy’s third film, Europa (1991). Both of these works are distinguished by their boldly stylized aesthetics and involving narratives, with Element providing a feverish, orange-tinted variation on the noir genre while Europa weaves a spellbinding tale of postwar Germany. In comparison, Epidemic (1987) feels completely different right from the start, with its sensibilities more rooted in documentary than fantasia – initially, at least.

    The film opens with the writer Niels Vørsel calling his creative partner Lars von Trier (the two men collaborated on the scripts for the Europa trilogy and the television miniseries The Kingdom, and here essentially play themselves) about their latest screenplay. Lars goes over to Niels’ place only to discover that the disc containing the script (entitled The Cop and the Whore, a cheeky nod to The Element of Crime) has been erased. Left with just a few days before they have to hand in their work to their producer, they scramble to write up a brand new script. They decide to create a new story about the spread of a deadly plague across the world and begin to conduct research and map out a plot. They make progress and see to other matters like a road trip to Germany while remaining unaware of an actual outbreak that is quietly making its way across Europe.
    » Read the rest of the entry..

  • Video Review: Melancholia

    7

    Did you want two minutes of hyper-ecstatic stream-of-thought on Lars Von Trier’s Melancholia? Again, The Substream has got you covered, this time with yours truly talking fast in the damp November cold. The thesis: Why Lars Von Trier is the right man for the job of making a gorgeous epic on depression and self destruction.

  • Friday One Sheet: Lars Von Trier presents Melancholia

    3

    With the North American (November) and UK (Today!) releases of Lars Von Trier’s Melancholia – one of the best films I’ve seen this year – looming on the horizon, there is an entire series of new one-sheets for the film, emphasizing its fabulous international cast doing the ‘look up in wonder’ pose typical of end-of-the-world apocalypse cinema. But the last one in the series, featured above, is sold on the infamous (more than famous?) auteur himself. It’s a curious approach, as all joking aside, the average joe (admittedly not the target audience here) probably has no idea who the director is.

    You can see the entire series at Impawards.com

  • Cinecast Episode 229 – But Fate Runs Another Course…

    41

     
     
    It is festival time folks! With Kurt returning from the Toronto International Film Festival, and Gamble MIA due to the Twin Cities Film Festival – which Andrew recaps a few titles – there is precious little time for us to get to the weeks regular releases. Those looking for talk on Moneyball can consult the previous episode of the Cinecast, Over/Under. So prepare for a lot of monologuing (in brief spoiler-less spurts) on many of the festival titles – some of which will end up in the fall slate of films on the domestic front, others will probably be only released abroad until the end up on DVD or VOD. Join us as we tour through festivaland at warp speed. Also, for something completely different, Willem Halfyard comes into the mix to beef up The Watch List segment and Andrew gets to talk a bit of Star Wars from the perpective of two different generations of viewers.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_11/episode_229.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Cinecast Episode 213 – Broadening Your Horizons by Telling You Something You Already Know

    15

     
     
    We still have not figured out that it is the ‘summer blockbuster’ season, so instead Kurt and Andrew decide to dig into one of the big Canadian films, (nominated for best foreign language Oscar) Denis Villeneuve’s Incendies (which we keep very light on *Spoilers*). An epic ‘what we watched’ section follows. Along the way, tangents on Lars von Trier and Cannes, the two fantasy epic mini-series on cable, Tree of Life, and Jodie Foster’s Beaver. There are lots of good DVD and Netflix picks to round out the show.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_11/episode_213.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Cannes says Lars Von Trier “Can’t” and bans him from the Festival

    44

     

    After watching the hilariously awkward press conference for Lars von Trier’s Cannes competition film, Melancholia (all 38 minutes are here), one can see the awkward position the festival is in. One one had, the Cannes festival is one of the last bastions of unfettered free speech slash freedom of expression. Despite this clearly it is the case of an awkward auteur who had no interest in engaging with the world press (of whom, other than Bruce Kirkland, did not seem to ask much of anything of interest considering the prestige of the festival.) On the other hand, the world is still very sensitive to jokes made about the state of Israel, Hitler, and the Nazi parties final solution of WWII, which von Trier fumblingly delivered during the press conference (and this after announcing, tongue in cheek, that his next film will be a 3 hour porn film starring his Melancholia leads, Charlotte Gainsbourg and Kristen Dunst) before realizing how deep he dug himself and pleading, “How do I get myself out of this sentence?”

    So, Cannes has taken the hammer approach and booted Lars von Trier out of the festival (his film gets to stay in competition) whilst declaring him a persona non grata, despite his apology after the fact. Outside his films (and many would argue within his films) the crazy Dane has always been a bull in a china shop. Why bag on the man for being who he is? Clearly he isn’t as serious as the world would have him be. For the record, I am a big fan of the director’s particular brand of cinema, and all the controversy, infamy and bluntness he brings to the table. I know that festivals need their dog and pony shows, but discriminating cinephiles are (hopefully) wise enough to let the films speak for themselves, and find these types of press conferences about as vulgar as explaining-in-detail a good joke. A joke that the worlds largest and most prestigious festival just supplied an even bigger punchline too. Censoring their own position on freedom of expression while purporting an adherence to those principles. Who is the Nazi now?

    Either way, well played Mr. Trier for keeping Cannes amusing to those of us (by making an ass of yourself in public for our entertainment) thousands of miles away.

  • Cinecast Episode 189 – Just a Symptom of 1986

    4

    It is again that wonky time of year where studios favour the platform release, getting in the way of folks from Toronto and Minneapolis having a friendly movie chat about the same darn movies. Instead, we must be content with Multiplex Matt Gamble and the mainstream mega-release. Here he gives some thoughts on Todd Phillips’ newest, Due Date and tries to break down some pre-conceived notions. There is also some talk of the Asian Film Festival. Kurt gives a snippet of reaction to Danny Boyle’s follow-up to his Oscar win, 127 Hours. It is likely that the boys will revisit this one at some point for a consensus discussion, but as a nice double bill with the other ‘trapped between a rock and a hard place’ movie Buried there is a fair bit of stuff to chew on. Meanwhile Andrew finds solace in the comfort of his Blu-ray player… sometimes twice a day. Peter Weir is revisited in a lengthy discussion on The Mosquito Coast and also some Picnic at Hanging Rock, Master & Commander, The Truman Show and of course, the upcoming The Way Back. DVD picks and Japanese pornography are also on the bill.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

     
     

     
     

     


     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Oh, If Only…

    1

    Von Trier takes on Denmark’s tourism ads…

     

Page 1 of 3123»