Fulton and Pepe's 2000 documentary captures Terry Gilliam's attempt to get The Man Who Killed Don Quixote off the ground. Back injuries, freakish storms, and more zoom in to sabotage the project (which has never been resurrected).
Capitalism: A Love Story examines the impact of corporate dominance on the everyday lives of Americans (and by default, the rest of the world). The film moves from Middle America, to the ... See full summary »
Voice-over (from "Det perfekte menneske" 1967) /
Himself - Director (segments "The Conversations") /
Voice-over (segment "The Perfect Human: Cuba," segment "The Perfect Human: Bombay," segment "The Perfect Human: Cartoon") /
Himself -The Perfect Man - Voice-over (segment "The Perfect Human: Avedøre, Denmark")
"The Five Obstructions", a 100 min. theatre documentary directed by Lars von Trier and Jørgen Leth. An investigative journey into the phenomenon of "documentary", based on manifestos written by each director. About a filmmaker not only revisiting, but also recreating (not in a conventional sense) one of his first films, The Perfect Human / Det perfekte menneske (1967), a document on life in Denmark, containing the familiar Leth idiosyncrasies Written by
During one of the conversation segments in the documentary Lars von Trier and Jørgen Leth agree that Leth will receive full credit for the fifth and final Obstruction entitled "The Perfect Human: Avedøre, Denmark" despite not directing it, and that Trier will receive none, although he will direct it. This, apparently, is within the rules of the game played out by the two directors during the documentary, and serves as an inside joke. See more »
A Witty Premise That Grows Clouded by Over-Analysis and Self-Absorption
Modern art house director Lars von Trier spends a few months torturing his idol, the experimental documentarian Jørgen Leth, in a variety of cruel and unusual ways. As the taskmaster of a twisted private game, von Trier compels Leth to painstakingly recreate his 1967 surrealist short, The Perfect Human, on five different occasions with a gauntlet of handicaps and restrictions. A shoot might require that he employ no more than twelve frames between cuts or travel across the globe, and Leth is merrily game for it all. Ultimately, the goal is to strip the film down to the core and unravel its mysteries - many of which were seemingly lost to the director himself - and it does successfully dip a few toes into those waters. But as Leth gets more films under his belt, the obstructions become more passive, quizzical and vague. By the time we arrive at the delivery of his final film, a light, enjoyable concept has become too heady and analytical for its own good, and neither man is smiling with the kind of vigor they were at the outset.
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