the opinion of The “World” – a masterpiece
there are, in the new film of Lars von Trier, the three grounds on which one could say, not that they break necessarily taboo (after all, there are no taboos objectives, but only those that society considers as such) but they tend to hit a shared sensibility and contemporary : the status of female characters in the film, all the victims and ” stupid “, as the highlight of a dialogue likely to promote an accusation of misogyny, a scene of brutality against children, finally, the evocation of nazism and of its achievements, architectural and technical demonstration purposes.
It would be vain and fallacious, however, to consider these aspirations as under the simple sake of provocation of an artist pushing the boat out a bit far, by game or by unconsciousness. Because what emerges from this there is further need to consider it as a cinematic essay than as a macabre comedy or a horror film, apocalyptic, is the willingness to review what would be a definition of Evil, and the conditions of its representation. Subsequently, so is it to state may be a reflection on the role and place of morality in a particular human activity, that of the item It was without doubt, for this, a remedy of shock, the denial of any half-measure in favor of a rhetoric abrupt willingly disturbing.
The film generates in the form of a dialogue in voice-over, a conversation between a man named Jack (glaring Matt Dillon) and some Rod (Bruno Ganz), the resurrection of the Virgil who guided Dante through the circles of hell in The Divine Comedy. Jack is a serial killer, commenting placidly his murders, in search of a meaning that it does is perhaps not and what is seeks to respond to his interlocutor, the image of the questioning, skeptical and rational.
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