(Inasmuch as this review is partly interpretative, other viewers may find their own preferred readings which differ from the approach given here.)
This results both in adherents and in those who dismiss his work as pretentious – not something that ever seems to bother him.
He makes films that provide himself and his audiences with thorny intellectual challenges. The point of this long preamble is a preparation to the statement that, if someone like von Trier makes a horror movie, it is hardly likely to be standard fare. One of the few uncontroversial films he has made is The Boss Of It All, an extremely clever comedy that didn’t receive much attention. More recently, he founded another experimental cinema called Advance Party. Somewhere along the line were experiments like The Five Obstructions, a featurette demonstrating a love of constraints in moviemaking, and two highly theatrical Brechtian pieces called Dogville and Manderlay, where sets are replaced with chalk lines. Next came Dancer In The Dark, an almost Janacek-like musical where a blind girl takes the inner fantasy world to extremes. Then he founded the Dogme movement of back-to-basics cinema, and made The Idiots, where lunacy and sanity are cleverly mixed. He initially came to fame through Breaking The Waves, a controversial story asking how far someone would go for love. Lars von Trier has established himself as a maker of serious, avant garde drama.
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