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Much has been made of the supposedly anti-American attitude behind Dogville, Danish director Lars von Trier’s (Dancer in the Dark, Breaking the Waves) latest portrait of a woman wronged by society. But even as the action unfolds in a Rocky Mountains village of von Trier’s invention, the film’s statement about the nature of humanity is clearly far more general than a shrill denunciation of the American dream or George W. Bush’s administration. Like many a great dramatic work—think Richard III or Oedipus Rex?...
Much has been made of the supposedly anti-American attitude behind Dogville, Danish director Lars von Trier’s (Dancer in the Dark, Breaking the Waves) latest portrait of a woman wronged by society...
Furthermore, I love HRDC! The HRDC type of dancer feels free to express incredible ideas in a perfectly unlimited space and time. And, yes, our repertoire even gets “humorous” at times, mainly because we allow ourselves the freedom to enjoy our art and the crazy perspectives it gives...
...what mind-blowing shaking it was. At one point, Gollum-like male dancers crawled across the floor to their female dance partners, laying spread eagle on the floor. The ladies quickly took matters into their own hands as they mounted their men and stuck lollipops in the boys’ mouths to the pulse of Lil’ Kim’s “How Many Licks” blaring out of the stereos. Perhaps the most shocking moment came during a Janet Jackson medley, as one dancer came up to her man from behind, fondled his crotch, threw...
...bare set is elbowed out of a viewer's mind by the threadbare plot and characterizations. Into this town of ostensibly decent folk comes a fugitive named Grace (Kidman), a familiar Von Trier heroine-victim, like the ones played by Emily Watson in Breaking the Waves and Bjork in Dancer in the Dark. Grace is the beneficiary of the townspeople's Christian charity, then the victim of their envy, malice, lies and sadism. She stoically endures a spate of abuse nearly as long and relentless as Jesus' in the Mel Gibson gospel. Her resurrection, though, takes a different, darker turn...