The US President and UK Prime Minister fancy a war. But not everyone agrees that war is a good thing. The US General Miller doesn't think so and neither does the British Secretary of State ... See full summary »
A story that follows a New York woman (who doesn't really have an apartment), apprentices for a dance company (though she's not really a dancer), and throws herself headlong into her dreams, even as their possibility dwindles.
The owner of an IT firm wants to sell up. The trouble is that when he started his firm he invented a nonexistent company president to hide behind when unpopular steps needed taking. When potential purchasers insist on negotiating with the "Boss" face to face the owner has to take on a failed actor to play the part. The actor suddenly discovers he is a pawn in a game that goes on to sorely test his (lack of) moral fibre. Written by
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A number of visual elements were hidden in the danish distribution of this film. These visual elements, called "Lookeys", were part of a contest to find them all. The first finder was to get a price and a role as an extra in an upcoming film. See more »
"Life is a Dogma film. It's hard to hear but the words are important."
"You have a knack for deliberate mental cruelty." "You're right, but I'm better at being irritating on an intuitive level."
With his often unlikely plotting, emphasis on stripped-down style over structure and fascination with stripping away the suspension of disbelief of most films to highlight their artificiality, it's fair to say that Lars Von Trier isn't to everyone's taste. After films like Breaking the Waves and Dancer in the Dark he also seems an unlikely candidate to try his hand at a comedy, but the mischievous sense of humour that's run through his work since the TV series The Kingdom finds a perfect outlet in The Boss of it All. The plot might seem almost as if it could do service as a mainstream Hollywood comedy, but in many ways it's the perfect match of premise and filmmaker.
Gambini-obsessed bad actor Kristoffer (Jens Albnus) is hired by Ravn (Peter Gantzler) to pretend to be the boss of the company he's planning to sell. Ravn has been the real boss of the company for years, but is so desperate to be liked by his staff that the only way he can pass on bad news is by blaming it all on an invisible owner in America. Despite the fact that at first Kristoffer reads far more into the text than there is ("It says far more than it says" he notes of his underwritten part: "I had hoped it would say as little as possible," replies the whiz-at-contracts Ravn), unfortunately, Ravn's so desperate not to be disliked that he doesn't fill Kristoffer in on the full script, expecting the hapless actor to improvise his way through a minefield of imaginary relationships the staff have created with him over the years. Finding himself alternately seduced, punched or engaged to them at various times, he soon discovers that the real boss of it all is a much better actor than he is...
The stage is set for a playful examination of the way people's vanity inevitably finds them playacting both at work and in their personal relationships in their desperation to either fit in or at least have an easy life, allowing Von Trier plenty of opportunities to take swipes at acting in general (and in Denmark in particular) as well as the vagaries of business politics. What's surprising is how funny much of it is, from Kristoffer's obsession with getting to the 'truth' of his character (complete with dramatic pauses and would-be burning looks that just confuse people) to the obnoxious saga-obsessed Icelandic tycoon who wants to settle 400 years of national humiliation by humiliating the Danish company. And running through it all is a sly commentary on movie-making and the power struggle between actor and director (the Danish title is Direktøren for det Hele). Of course, humour is a personal thing, and it may be funnier if you've worked in that kind of office environment or know enough self-obsessed actors to recognise the absurdity, and for some Von Trier's interruptions to comment on the film or his use of computer-chosen camera angles that don't always capture the action and give some of the film a disjointed feel will take them out of the film or simply irritate. But if you're on the right wavelength, there's a lot of fun to be had with The Boss of It All.
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