The rules of abstraction
In 2003, when the cinema had already long surpassed all that series of technical obstacles that remarked from realism and was about to start an era in the inclusion of the impossible and the fantastic, Lars von Trier decided to take a step back. The Danish director, who had achieved fame and critical prestige after the premiere of _ idiots, breaking the waves and Bail in the darkness, _ he became interested in theater while preparing the second film of him shot in the United States; A ribbon with which he intended to explore the cruelty of the human being, hidden under the hypocrisy and the limits of hospitality. In _DOGVILLE The different levels of abuse that Grace suffers are directly linked to the people in which she hides, a town in which houses are lines on the floor and the sky is limited to the roof of a large warehouse. Over the years, Von Trier has discussed this decision in very different terms. According to a conversation that he kept with the New York Times shortly aft...