very impressive movie. immediately when movie has ended, i had mixed feelings, didn't know what to think about this movie. but on next day I realized that this is masterpiece. very impressive.
I had to watch the tailer few times frequently.
"...run ... (read more) very impressive movie. immediately when movie has ended, i had mixed feelings, didn't know what to think about this movie. but on next day I realized that this is masterpiece. very impressive.
I had to watch the tailer few times frequently.
"...run for the bomb"

The opening scene literally stopped me right in my tracks.

Lars Von Trier first films are testaments to his obsession with formalism which has now spiraled into total madness. Now his films have been deteriorating visually over the years into somet... (read more) The opening scene literally stopped me right in my tracks.

Lars Von Trier first films are testaments to his obsession with formalism which has now spiraled into total madness. Now his films have been deteriorating visually over the years into something I bet he can't even recognize anymore. "Dogville" and Manderlay" has some of the life his work once had and "The Boss of it All" was funny yet a solemn cry for help. What's the deal?

"Zentropa" is a harrowing, engaging, visual experience filled with symbols and a film kid's sense of wonder. The trick projectors and the draining colours are all tools Von Trier uses to lure us and play with us and remind us to look closer at what we're seeing on the screen.

While I think this movie inspires the hell out of me and makes me want to run out and make some video art--- it's also a bit stuffy. This makes it less than perfect and I think that means I'll be seeing it again.

Unorthodox. Except the transition off B&W & color sometimes looked too random & abrupt, it was still a good example for film languages & narrative.

Lars von Trier utilizes the tools Hitchcock left him and pushes the "artsiness" a bit further. This is, like a few of my favorite films, a "theatrical" screen experience in the style of Felini's "Roma" or Greenaway's "Baby of Macon". Life is a stage!... (read more) Lars von Trier utilizes the tools Hitchcock left him and pushes the "artsiness" a bit further. This is, like a few of my favorite films, a "theatrical" screen experience in the style of Felini's "Roma" or Greenaway's "Baby of Macon". Life is a stage! von Trier seems to beat us with again and again with his strange Mis En Scene and affected dialogues. Probably the best work to date from Jean Marc Barr.

Strange, but great. The cinematography is really good and made more memorable by the mix of black and white with colour photography. All the acting in the film is well done and the narration is spectacular. I liked how Von Trier took a simple stor... (read more) Strange, but great. The cinematography is really good and made more memorable by the mix of black and white with colour photography. All the acting in the film is well done and the narration is spectacular. I liked how Von Trier took a simple story about an american in post war Germany and made it completely different from what you would expect (unless you were familiar with Von Triers work).

Strange, hypnotic, unjustly forgotten pre-Dogma 95 work by great von Trier casts a spell, even if it's not a fully realized vision.

Wow. Haven't seen it in years but it still leaves an impression. Excellent filmography (very Hitchcock).

Lars von Trier at his best. Max Von Sydow provides a disembodied narrative voice which lowers the viewer into the hypnotic milleu which is post war Germany. Well worth a look.

Brilliant!

When I was young(er), I was rarely drawn into black and white films. As I get old(er), I realise that the more emotionally compelling a story, a movie, the better it seems to work in black and white. It's as if all the colour is drained ... (read more) Brilliant!

When I was young(er), I was rarely drawn into black and white films. As I get old(er), I realise that the more emotionally compelling a story, a movie, the better it seems to work in black and white. It's as if all the colour is drained from the screen and packed into the story.

This film tends to live unconsciously on in your consciousness.

Europa

You will now listen to my voice. My voice will help you and guide you still deeper into Europa. Every time you hear my voice, with every word and every number, you will enter into a still deeper layer, open, relaxed and receptive. I shall ... (read more) Europa

You will now listen to my voice. My voice will help you and guide you still deeper into Europa. Every time you hear my voice, with every word and every number, you will enter into a still deeper layer, open, relaxed and receptive. I shall now count from one to ten. On the count of ten, you will be in Europa.

I say: one. And as your focus and attention are entirely on my voice, you will slowly begin to relax.

Two, your hands and your fingers are getting warmer and heavier.

Three, the warmth is spreading through your arms, to your shoulders and your neck.

Four, your feet and your legs get heavier.

Five, the warmth is spreading to the whole of your body. On six, I want you to go deeper.

I say: six. And the whole of your relaxed body is slowly beginning to sink.

Seven, you go deeper and deeper and deeper.

Eight, on every breath you take, you go deeper.

Nine, you are floating. On the mental count of ten, you will be in Europa. Be there at ten.

I say: ten.












In the morning, the sleeper has found rest on the bottom of the river. The force of the stream has opened the door and is leading you on. Above your body, people are still alive. Follow the river as days go by. Head for the ocean that mirrors the sky. You want to wake up to free yourself of the image of Europa. But it is not possible.