Away From It All, in Satan’s Church<
di Dave Kehr The New York Times
ON some level Lars von Trier’s films are always about humanity’s desperate need to impose order on chaos, to make sense of a violent, irrational universe by viewing it through the prism of religion (“Breaking the Waves”), politics (“The Idiots”), music and art (“Dancer in the Dark”), medical science (“The Kingdom”) or even train schedules (“Zentropa”).
Perhaps because Mr. von Trier is at once an incurable optimist and an inveterate ironist, the forces of order usually seem to win. At the end of “Breaking the Waves” (1996) giant church bells appear in the heavens to announce the ascension of the film’s saintly, self-sacrificing heroine (Emily Watson), an image as silly as it is sublime. [...]
di Dave Kehr, articolo completo (8025 caratteri spazi inclusi) su The New York Times 13 settembre 2009
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