Lars Von Trier Beste Filme

Confrontational provocateur Lars by Trier has, end a prolific filmmaking career jetzt bridging almost four decades, amassed in admirable, distinct, powerful, and frequently polarizing body des work. Ns Danish born firebrand zu sein recognized, even von his detractors, zum his many technical innovations, his willingness to experiment, und his fondness zum upending genre conventions.

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Von trierer is deshalb identified through his often adversarial approach zu studying und scrutinizing themes von existentialism, sociopolitical issues, mental health and wellness intellection, and also spirituality and faith traditions. Because von his regularly bold und spurring modus operandi, von Trier courts dispute with virtually every new film he actualizes.

As in auteur-director, von Trier has inspired many des his peers via his financial independence and total creative control end his many projects, all made through his production agency Zentropa Entertainment, which he founded in 1992 v producer peter Aalbæk Jensen.

A key architect together with fellow Danish filmmakers thomas Vinterberg––and kommen sie a lesser but blieb considerable extent Søren Kragh-Jacobsen und Kristian Levring––they concocted die cinematic movement referred to as Dogme 95. This around the world acknowledged activity involved ns “Dogme 95 Manifesto” and the “Vows von Chastity” were meant kommen sie emphasize classic storytelling gadgets while eschewing sophisticated special effects or technology, und is still practiced von filmmakers kommen sie this day, though über Trier himself has largely left that behind since ns 90s.

Apart from his often brutal und burning approach zu controversial subject matter, von Trier’s films consistently present solid female leads, und his female-centric films are often compared to other good European filmmakers like Michelangelo Antonioni und Ingmar Bergman zum this very reason. “The masculine protagonists an my movies are basically all idiots that don’t understand shit,” says über Trier, adding: “Whereas ns women are viel more human, und much much more real. It’s die women ich identify with an all mine films.”

Among his many accolades, von Trier has received die Palme d’Or (for Dancer in the Dark), the grand Prix (for Breaking die Waves), ns Prix freundin Jury (for Europa), and the Technical grand Prize (for die Element of Crime und Europa) at ns Cannes film Festival. Und all of this from Cannes regardless of his being briefly banned and labelled “persona non grata” after ~ a 2011 drücken sie conference promoting Melancholia gott out von hand.

One final grad before obtaining to ns ranking of von Trier’s filmography ist that die only noteworthy omissions below are his 1988 telefilm Medea, und that von the Danish TV miniseries ns Kingdom (1994) and The Kingdom ii (1997), together they were never widely exit cinematically, despite it walk slot an spectacularly as some des his many enjoyable und from out-of-left-field work. If you’re a fans of by Trier, Kingdom zu sein essential city hall (but deshalb is every little thing on this complying with list).

14. Die Element of Crime (1984)

*

Von Trier’s pastiche-heavy neo-noir crime caper/art film, the erste installment of his europa trilogy, deshalb runs as something akin zu Alphaville-lite. But that said, it’s bei artful, accomplished, und rather auspicious debut that concerns bei ex-detective und expat called Fisher (Michael Elphick), down und out in Cairo wie man he reluctantly agree kommen sie take one belastung case including a serial killer dubbed ns “Lotto Murderer.”

After ns at big killer keeps explain the lebt of several young girls, a frustrated Fisher enlists the help of a writer called Osbourne (Esmond Knight) and the pair explore some strange criminology methods kommen sie catch their man.

Of course, this gift a by Trier film, sachen get stranger and more facility than this undernourished synopsis suggests und the just thing that really mars this production ist that Element von the Crime was made on a klein budget and some des that reflects through. Still, die sepia-tones and surreal imagery do this zuerst flight an interesting, and occasionally abstract, thriller.

13. Epidemic (1987)

*

Continuing the europa trilogy with Epidemic, über Trier so takes a rare turn in front des the camera as well where he zu sein joined by co-screenwriter und co-star Niels Vørse an this eerie meta-horror film. Illustrating simulacrum versions von themselves, the film features a irritable director (von Trier) and a struggling screenwriter (Vørse) together they spend 18 month trying to concoct a suitable und bankable horror movie.

Intercut v scenes und sequences from the movie they’re writing, wherein von Trier ist a rather dissident Dr. Memer trying kommen sie manufacture a cure for the titular epidemic. Together Epidemic progresses dinge get more und ore sinister, strange, and ultimately horrific––the capsheaf ist particularly cruelly rewarding––and the film is so fascinating in that all von the director’s cinematic obsessions space proleptically displayed.

Epidemic is so of attention to von Trier’s fans as it represents the zuerst of numerous collaborations with die iconic cult and character actor wunsch Kier.

12. Manderlay (2005)

*

A not entirely successful, but still rather completed avant-garde experiment, this follow-up kommen sie 2003’s exceptional dissection Dogville, ist the second film in von Trier’s thus far incomplete vereinigte staaten – festland of avenues trilogy.

Manderlay stern Bryce Dallas Howard, who replaces nicole Kidman in the role of Grace Mulligan, a young woman in the Dust bowl era of Arkansas in 1933. Grace and her dad (Willem DaFoe) discover the eponymous plantation wherein it seems that slavery is still an practice.

Feeling compelled to help the people living bei Manderlay grace opts kommen sie stay and liberate these people and see them through their zuerst harvest. Grace’s father, a gangster, leaves produziert with a quartet des his gunmen und his lawyer, joseph (Teddy Kempner), all kommen sie ensure that die ex-slaves shift as swiftly and easily together possible.

Allegorical, provocative, und spiked with anti-American sentiment, Manderlay ist nevertheless a moving, and emotional R and D of race relations, arrogance, and the articles des faith. Just like Dogville, this film is shot bei the exact same distinctive style––inspired von televised theater circa 1970s––on a bare soundstage through minimal sets (buildings space denoted by lines on the floor, through nominal kommen sie no set decoration).

The results will grate on some viewers who will only see pretension an these designs, but zum the rest of us, buoyed by strong performances und devilish plot twists, this zu sein a solid film and one whose ambition and basis ist both sincere und enticing.

11. Europa (1991)

*

The an extremely presence von actor Eddie Constantine in Europa invokes his top role von Lemmy caution from Jean-Luc Godard’s 1965 sci-fi classic Alphaville, and it’s no coincidence. Yet Alphaville, in von Trier’s imaginings here, sits alongside ed Wood’s setup 9 native Outer space (1959), and they make for oddly bei sync bedfellows.

Concluding his punchy und pastiche-addled europa trilogy, this Franz Kafka-excited closer––whose very nennen is in homage kommen sie Kafka’s posthumously published 1946 tome “Amerika”––is a cajoling fever dream of sound und image.

Filmed in a really experimental format with no much less than three professional cinematographers at von Trier’s beck und call (Henning Bendtsen, Edward Klosinski, und Jean-Paul Meurisse, respectively), each doing their best des imitate film noir convention an a largely monochrome world von black-and-white v startling splashes von color imagery, rear-projection, and animated use von surreal layered imagery and double-exposures, all des which mainly enhanced by Max by Sydow’s practiced narration.

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Europa zu sein set in 1945 US-occupied Germany, und concerns itself with a young und rather naive peacenik American called Leopold Kessler (Jean-Marc Barr), who zu sein soon entwined in bei intentionally maudlin plot zu blow trost a train belonging zu Zentropa railways, all zum the woman he loves, die fiery femme fatale katharina Hartmann (Barbara Sukowa).

Spellbinding, und strange, europa imagines a weird futuristic previous with no shortage des odd-lot slapstick and endless pop culture posturing. To miss europa wouldn’t it is in wise.

10. Die Boss of It all (2006)

*

While even von Trier’s many dirge-like films offer moments of comical interlude, 2006’s the Boss des It All ist the only film thus far in his canon that’s an across-the-board comedy, despite of prozess of the pitch dark and satiric variety.

Perverse, droll, and especially serrated, this spicy workplace-set comedy entails Ravn (Peter Gantzler), agency director weil das a successful IT for sure who has actually spent year convincing his competent and good-humored staff that the real “boss of it all” is an absentee overseer named Svend that lives bei America.

When die opportunity zu sell the unternehmen presents itself via one affluent prospective purchaser named Finnur (Fridrik Thór Fridriksson), Ravn realizes he has actually no an option but to hire in actor named Kristoffer (Jens Albinus) zu play die fictional boss deshalb that ns deal kann sein occur. Hilarity ensues, des course.

Fond of throwing in a gimmick or a technical challenge with many of his films, the Boss von It All ist no exception, und for this project von Trier surrenders a far-ranging part des his regulate as auteur yet shooting ns entire film WITHOUT A CAMERA OPERATOR. I didn’t mean to shout there, however this risky gambol on über Trier’s teil deserved part sort des emphasis as it’s a rather ridiculous hindrance that right here seems to work impeccably.

Essentially, this operator-free exercise operated like this: after ~ blocking die scene with die cast by Trier would chose ns best possible fixed camera position for coverage––as any type of director would certainly do––and then a computer system running ns camera would choose when to tilt, pan or zoom hinweisen random.

ns results? Well, plenty of serendipitous instances resulted in what von Trier playfully referred to as “Automavision”, und the punchy und sharp modifying from Molly Malene Stensgaard help bring die whimsical wisecracking and vagary to ns fore.

A funny erprobt with plenty des pay off, the Boss von It All zu sein probably von Trier’s most overlooked und underrated film und that’s a shame together it’s an absolute satisfied from anfang to finish.

9. Die Idiots (1998)

*

Von Trier’s first film made bei complete compliant with the Dogme 95 Manifesto, ns Idiots isn’t an easy city hall experience und is the kind of polarizing job that his fans admire while his detractors completely abhor. The said, weil das the adventurous viewer, marvels await an this challenging, explicit, und emotionally charged comedy-drama.

The comic aspects des The Idiots can not be under emphasized, particularly considering how plenty of of von Trier’s vocal detractors like kommen sie typify die Dane together a humorless cynic. The Idiots tells die harrowing tale of karen (Bodil Jørgensen), a woman who newly lost herstellung baby and the grief of herstellung tragedy has eluded produziert as other she can not quantify or confront––at least, notfall yet.

Dining alone hinweisen a bustling diner karen meets a disruptive gruppe of civilization who behave as if holy ghost challenged. Realizing the these civilization aren’t what castle appear to be––are they power artists performing some kind of guerilla theater?––she joins their ranks. Staying in a communal house und led by a poised and intellective einer named Stoffer (Jens Albinus), this kopieren, gruppe of civilization practice “spaz” behaviour an public together a means des challenging und confronting bourgeois tenets.

Most of the debate over ns Idiots ist centered around ns graphic sex-related content––there’s in orgy scene that could be too much zum the uptight viewer––but that really ns confrontational und blunt observations on voyeurism, upsetting society mores, und the full-on denial of emotional vulnerability that should collection most viewers into a tizzy.

von Trier, v this film, brazenly calls under thunderbolts as he forces the viewer kommen sie take some accountability v our own public personas. Brutally funny und full von affection und indignation, the Idiots radiates knowledge and, pardon die play ~ above words, real penetration.

8. Dogville (2003)

*

“For passion, originality, and sustained chutzpah,” wrote the Village Voice’s J. Hoberman in an overwhelmingly hopeful review, “this austere allegory of failed christen charity and Old testament payback is von Trier’s the strongest movie–a masterpiece, an fact.”

A challenging geprüft that stylishly makes use of a barren soundstage zu manufacture ns thinnest semblance von a spartan small-town mise en scène, ns eponymously named Dogville und its citizens stand for a succinct und cynical microcosm weil das America in the first picture of von Trier’s thus much unfinished vereinigte staaten von amerika – land of opportunities trilogy (with 2005’s Manderlay being the succeeding film, and as weil das a third film, well, nothing anyone host their breath).

This problematic, provocative, and arguably really heroic gemälde concerns a secret fugitive frau named grace Mulligan (Nicole Kidman) walking underground, as it were, hiding from the gangsters who are after her.

The quite duplicitous people of Dogville agree kommen sie provide refuge zum Grace, but in exchange for asylum she have to work zum various townspeople kommen sie gain patronage. Together a helpless und desperate outsider Grace soon provokes some upsetting abuse and perverse derision as the film morphs right into a potent morality tale and a spring-loaded parable des human suffering.

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As paradoxically alienating und appealing together anything in von Trier’s oeuvre, Dogville zu sein a risky undertaking that’s well served by a startling, strong, and rather savage climax. For all die film’s antithetical audience and critical reception Dogville however topped many 2004 top-ten lists. Hardly ever does a film garner such equally appalling and exuberant attention as the wrestles through such intense und dense subject matter, uneven of prozess it come from von Trier.