A film director and a script writer (performed by Lars von Trier and Niels Vørsel themselves) write a screenplay, in which an epidemic spreads about the whole world. Like the protagonist ... See full summary »
Medea is in Corinth with Jason and their two young sons. King Kreon wants to reward Jason for his exploits: he gives the hand of his daughter, Glauce, to Jason as well as the promise of the... See full summary »
The Kingdom is the most technologically advanced hospital in Denmark, a gleaming bastion of medical science. A rash of uncanny occurrences, however, begins to weaken the staff's faith in ... See full summary »
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 town, she finds out that their support has a price. Yet her dangerous secret is never far away...
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
Lars Von Trier instigated this endlessly fascinating cinema experiment with fellow Danish filmmaker, and mentor/hero; Jorgen Leth. Trier challenged Leth to remake his 1967 short film "The Perfect Human" five different times, each time with a different set of obstructions or conditions. The obstructions range from technical to philosophical, and are sometimes plucked out at random by Trier in direct response to Leth's actions or words, during their many whimsical, very funny, nebulous exchanges. The most diabolical condition Trier concocts is of coarse that Leth has no conditions, which places all the potential blame, guilt, pressure, and creative insecurity totally back on Leth himself. Nothing though seems to get the better of Leth, and Trier appears to be frustrated and bemused every time Leth brings back a good film, of which we get to see the process and clips of the end creation. Trier states he wants to "banalize," Leth and each time hopes Leth will fail and return with a bad film, but Leth never does. Each reworking of The Perfect Human (1967) is an interesting and often poetic creation (at least the snippets that we get to see). One version is even animated by Bob Sabiston; the guy responsible for the great rotoscopish, brightly colored animation process and design in Waking Life (2001) and A Scanner Darkly (2005). It's hard to decipher Trier's true nature; at times he seems playful and at others, deadly serious. His intentions are (deliberately?) obscure. Is it all just a friendly game of chess or full on metaphysical warfare? This uncertainty and the sheer novelty of seeing Lars Von Trier and Jorgen Leth toy with each other on screen makes for a great shifty-eyed, quasi-exploratory, neo-deadpan, pseudo-straight-laced, doc-o-comedy, mock-drama.
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