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.
Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
1964 in small town Washington state. Selma Jezková, a Czechoslovakian immigrant, and her preteen son Gene live in a rented trailer owned by and on the property of married Bill and Linda Houston, he the town sheriff. Beyond Bill and Linda, Selma has a small group of friends who look out for her, including her primary confidante, Kathy, with who she works, and Jeff who wants to be her boyfriend. Jeff regularly waits outside Selma's workplace long before the end of her shift to drive her home, despite she always refusing in not wanting to lead him on. Her primary job is working on the Anderson Tool factory assembly line, but she does whatever she can to earn money. What only Kathy knows among Selma's friends is that she is slowly going blind, her medical condition being genetic. Selma is barely able to see, just enough to do her job. Her primary reason for moving to the US and for working all the time is to earn enough money for an operation for Gene when he turns thirteen, he who ...Written by
When Bill tells Selma he has no money, Selma's hair repeatedly switches from being over her ears to being tucked behind them. See more »
[referring to Gene]
Why did you have him? You knew he would have the same disease as you.
I just wanted to hold a little baby.
See more »
The original European version had the overture played in dimmed lighting before the curtains opened on the screen. However, Fine Line Features president Mark Ordesky informed director Lars von Trier that such an opening was unfeasible in U.S. theaters, since most American theaters don't have curtains and have electronic projection booths overseen by inexperienced staffers. Thus, von Trier filmed a visual accompaniment to go along with the overture in the U.S. release: a collage of paintings by Per Kirkeby, the artist/husband of producer Vibeke Windeløv. See more »
As a fan of Lars Von Trier's earlier works, as well as Bjork's music videos, I was quite excited to see a collaboration between the two. I tried not to expect much, however, as many reviews of the film were quite poor. I couldn't have been more delighted by the film. Bjork's acting ability was superb (it is a shame she will not be acting in the future), and Lars Von Trier's writing and direction proved to be intense and incredible. While he played with different themes in the genres of the Musical, the Neo-Realist film, and the Melodrama, he created a meta film, investigating human nature as well as the nature of film (or digital video) itself. An incredibly emotional film, it also proved to be poignantly intellectual.
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