During the activities of the sixty-fourth session of the Cannes International Film Festival in 2011, the Danish director “Lars von Trier” made his controversial statement, which indicates his sympathy for the Nazi leader “Hitler”, and his standing against Israel, saying, “It causes inconvenience and trouble.” The prestigious festival expelled him from the festival, so that the state of hostility between the veteran director and the most important festival remained for years, until it was broken by the presentation of his movie “The House That Jack Built” in 2018 at the 71st session of the same festival.
The follower of Lars von Trier’s career sees that most of his films do not come individually, but rather present and crystallize them through a separate connected cinematic trilogy at the same time, in which he expresses his ideas and visions completely, each trilogy monitors some ideas and releases them freely, even if he himself does not make The films are for the purpose of making them connected in interconnected episodes together, but for the purpose of integrating them with each other to gain over time the character of epic parts, where each group of them becomes an expression of a concern and a philosophical vision that disputes and worries its maker.
“Pandemic” .. A vision of Europe under the suppression of the epidemic
Lars von Trier continues to present his vision of Europe, but this time in the future, through the movie “Epidemic” produced in 1988, and the film presents a view of the world and Europe under the suppression of the epidemic, giving rise to a forward-looking view on the mechanism of dealing with any possible epidemic in the future, and the extent The ability to confront it, and it affects the human race in general.
Von Trier presents his film in a calm, smooth style that flows calmly to the spectator, in a way that is a mixture of black and white, and most importantly the flow of the boundary between reality and fantasy. Sometimes we do not know whether what is happening in front of us on the screen is from the womb of imagination or from the core of reality.
The main idea of the film from which the events take place came to Von Trier while working on his first film project “The Crime Element”, where he says, “The events of the Epidemic movie revolve around me and Nils while we were working on the movie The Element of Crime. What is really going on”, the script relied on presenting its events on five chapters, each chapter has a title that is linked in one way or another to both worlds, whether reality or fiction, and each chapter represents a narrative unit related to the next one, so that it seems as if we are watching two films and not one, the first is a documentary About the director and his friend, the screenwriter, and the other is a novelist about the epidemic that has spread its impact. Each of them follows a path that intersects with the other, and eventually merges together, although the fluctuation of events between the two worlds made the narration noticeably dispersed, but the film did not lose its luster, especially in these days when we suffer from a viral epidemic that is not visible to the naked eye.
“Europe” .. the question of confused identity
Following the end of World War II in 1945, the United States began its project to penetrate the German entity, not only a military intervention, but an intrusion into the popular fabric and German culture, which undoubtedly changed after this war, and headed towards American culture, and a different style from the ancient European style.
This is what the 1991 film “Europa”, which is the third part of the Europe trilogy, poses, where von Trier concludes his vision of Europe, this time from the past.
The film goes back to a time gone by after the end of World War II, where events take place in Germany after the fall of Nazism, and the entry of American forces into Berlin. In that charged atmosphere, “Leopold Kessler” (John Mark Barr), an American of German origin, returns to Berlin to be received by his uncle “Kessler”. (Ernst Hugo Gerrard), and works to put him in a job with the German railway company.
As the narration continues, the content of the film in which von Trier completes his vision of Europe becomes clear. If that vision is characterized by nightmarish or pessimism in the previous two films, we are here in front of a more optimistic vision and direction, although this radiance or optimism is wrapped in a sad, melancholy glimpse confirmed by the tragic end of the film with the death of The hero who represents the innocence that everyone seeks to seize and exploit, each according to his whims and desires.