Word: manderlay
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...first half of Antichrist has enough storytelling vigor and sheen convince any critic, including those who thought von Trier went off the rails with his Dogville and Manderlay epics, that, hey, the guy can make a normal movie, and with the highest skill. There are visions here worth savoring, pure von Trier weirdo-magic, like the sight of Gainsbourg lying on the forest ground, willing herself to blend with the green. Through simple grace notes - photos from the previous summer of the boy's shoes put on the wrong feet, and, in one of several allusions to The Shining...
...evil. ("Nature," the woman says, "is Satan's church.") What troubles even von Trier partisans is the connection this woman has with some of his other female protagonists. Emily Watson in Breaking the Waves, Bjork in Dancer in the Dark, Nicole Kidman in Dogville and Bryce Dallas Howard in Manderlay are all made to endure, at the rough hands of men, indignations that are depicted so long and lovingly that they seem like exploitation. In the Romer interview, von Trier insists that "calling me a misogynist is wrong... I don't think women or their sexuality is evil...
...Marsh's The King. A similar theme, of past sins haunting and tainting the present, was the preoccupation of several other biggies: ancient murders in David Cronenberg's A History of Violence, boyhood betrayal in Michael Haneke's Hidden, slavery in the American South in Lars Von Trier's Manderlay. The Grand Palais screen was streaked with guilty consciences. And as Sith ends with its plot conflicts in midair, leading up and back to the original 1977 Star Wars film, so many of the Cannes entries ended opaquely. Instead of a satisfied "Aha!", audiences were left muttering, "Huh?" In Hidden...
...mystery melodramas about identity: Michael Haneke's Hidden and Cronenberg's A History of Violence. One critic, looking to the past two years, when the Palme winners Elephant and Fahrenheit 9/11 were both critical of American society, suggests that the Palme might go to Lars Von Trier's Manderlay, a parable of freed slaves reluctant to give up their old servitude. Hmmm... we wonder what Toni Morrison thinks of that film...
...side: Maria Bello in A History of Violence, Juliet Binoche in