A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits the town, she finds out that their support has a price. Yet her dangerous secret is never far away.
After gangster Mulligan's cars colony, fleeing northern justice, finds a hiding place in Alabama, spoiled, naive daughter Grace refuses to travel on after seeing the Manderlay cotton plantation being run under slavery rules, called Mam's law, inclusive flogging. She keeps half of dad's goons as guard to force the dying matriarch-owner's heirs, which she shamelessly dispossesses and reduces to 'staff', to taste destitution under absurd, gun-imposed contracts. The 'slaves' are made free partners, supposed to vote for progress after lessons from Grace. But almost all her democracy-pupils prove fickle, dumb and selfish, except old Willem. Her and their ignorance in Southern planting and crafty Dixie ways means more problems are created then solved. By the time dad returns to pick her up or abandon her for good, she's the one who has learned and changed the most. Written by
When co-Producer Vibeke Windeløv went to the U.S. for casting, she got a tip that Danny Glover might be interested. She immediately flew to a hotel in Salt Lake City to meet up with him. After a long talk about the project, Glover asked her for a copy of Dogville (2003). She gave him a portable DVD player with it, and left him for the night. At 6:00 a.m., Glover called her hotel room and said she had to come immediately because the DVD player's battery had run out twenty minutes before the end of the movie. She rushed to his room with a charger, and after he'd watch it through, he said yes on the spot. See more »
It was in the year of 1933, when Grace and her father were heading southward with their army of gangsters.
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An official Danish, Swedish, French, British, German and Dutch co-production in accordance with the 1992 European Convention on Cinematographic Co-Production. See more »
I won't disclose anything about the film. I liked it very it much, albeit slightly less than the first film, probably because, well, the first was very fresh and innovative in the way it presented this "theatrical" world and partly because of the shocking and raw power of the story of "Dogville". In "Manderlay" we also meet with hypocrisy and cruelty, but the movie moves on a different level than "Dogville". It is clearly more philosophical-political, it carries a more visible political agenda. It also relies upon dialogue more than "Dogville" did and of course the symbolism and allegory of the first film are present here, as well. Still, the movie is a masterpiece, in the same way "Dogville" was. Of course, someone can think otherwise (not to mention those people that will accuse Trier of being "Anti-American"), but having a different opinion about it is okay and acceptable. Personally, I can't wait to see how the trilogy is going to conclude.
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