Europa

An exceptionally original film with some unforgettable scenes. Stylistically gorgeous. With Max von Sydow as the hypnotist/narrator who addresses the audience in the second person and Jean-Marc Barr as the ultimate non-character (appropriately so), it feels bizarrely like a Choose-Your-Own-Adventure noir. I like it.

Europa is a technical and visual marvel. However, the actors feel more like dolls in an ever-moving contraption than real people and this made me uncomfortable. I didn't care for anyone, especially the lead, whom I found to be dull. Still, this is really good movie-making and I liked the ending. Worth a look, despite how sterile it may be.

Visually stunning - like a mixture of Guy Maddin and Andrei Tarkovsky - and provocative. LVT expresses his distaste of politicians, idealists, resistance fighters and apparently, railroad passengers. This is probably the most accessible/straightforward LVT movie.

Some interesting techniques here: the noir-style black & white is punctuated by moments of color to highlight emotional moments, rear projection is used in a very unusual and striking fashion, and the narration is told in 2nd person. It doesn't always work, but it's effective at creating a nightmarish atmosphere. A nice relief from Von Trier's usual sledgehammer approach. There's not as much to annoy here as his later films but perhaps the lack of provocation makes it slightly less memorabl

Hallucinatory tale into the dark world of post-war Europa. Zentropa isn't very accomodating or welcoming cinema. In fact it's the very opposite, it's dark, chilling and sends a morbid feeling over your body. But once you look deeper, and get past this there's no letting go. It's a gripping noirish nightmare. This gives it, as contradictory as it sounds, a pure sort of beauty. Wonderful cinematography, and a strong message about the effects of living in a state of entropy.

Some extremely interesting narrative and visual experiments by von Trier in this movie that i have to rate highly just for its originality

Von Trier creates some pretty powerful moods with help from Von Sydow's creepy voice. The story isn't bad either.

Audacious black-comic fantasy utilizes high-tech mixed media, creative use of rear projection, and dramatic shifts in pigment. Though it feels like a stunt, this is a rare contemporary movie that makes one feel privy to the reinvention of cinema.

Remains my favorite Trier. Would have benefited from a stronger male lead, but it's worth watching for the great imagery and evocative atmosphere alone.

Lars von Trier's Europa is simply unique, a beautiful and ambitious avant-garde exercise in filmmaking, not a pretentious historical revisionist observation on WW2 post-war Europe. Trier is neutral and yet passionate with his characters: he's more concerned with relationships than politics -- and I guess this is still a powerful movie on politics.

really original encapsulation of post-war germany, and also in a weird way feels like a parody of classic hollywood cinema. in fact, it is at those times spent with his 'neo' femme fatale that it is at its weakest and least interesting, but elsewhere there are all sorts of strange visuals and cool ideas, particularly this feeling of uncontrollable downward momentum that is life in this time and place. with all this being said, it definitely isn't my favourite von trier, but it's still very good.

Not incredibly engaging (especially the first half) but has its moments and isn't a total waste of time. Went in expecting it to be more bizarre but it's about as straight forward and direct as Von Trier is gonna get. Von Sydow's voice is perfect for narration, too bad what he was narrating was so lame at times. Lead actor was wooden and the ending is a letdown but it's just not really good or bad - it just exists. very meh

EUROPA, at least on the surface, is one of Lars Von Trier's most "normal" films, being shot in a glossy-noir style that evokes 40s Hollywood. The story, about intrigue in postwar Germany, is comparatively normal as well. But Von Trier has a few tricks up his sleeve, blending black-and-white and color to strong effect, and using rear-projection in ways better seen than described. It's not as powerful as his best work, but it's a fascinating, often beautiful film. Great narration by Max Von Sydow.

Some really interesting techniques including the strange narration style, the mix of B&W and colour and the rear projection(this one was particularly well done). It's tense and creepy with an ending that really closes things off.

I'd say this is von Trier's first truly brilliant film he made. I think what was most striking to me was that it really felt like a film that could've been made in that era. I liked some of the visual effects used too. Another fantastic film from the genius, Lars von Trier.

The noir-infused parts of this are great. Less sure about the surreal arthouse hypnosis which is still a bit all over the place, but certainly far more coherent and focused than his previous two.

Pretty impressive. In gorgeous, inventive style that feels like a quirky update of Hitchcock at times, von Trier mocks history as written by the winners and depicts the meaningless chaos brought by the neutral party's revenge. And God as a baritone pawnmaster/narrator posing as a spooky hypnotist who counts forward towards inevitable repercussions. Once again -or rather, for the first time- the Dane sympathizes with the Devil in the most provocative and cinematic of ways.

Reminds me late Fassbinder. Pretentious. Some nice scenes. Some boring scenes. So so.

It certainly has something to say, the narrative just doesn't put it across in any interesting way. I also don't care for the b&w/color tricks.

Lors von trier filmleri hakkında çok fazla bir bilgim yok ve biraz şaşkınlık yarattı bende. Kamera denemeleri ön plandaydı benim seyrimde. Siyah beyaz görüntülere verilen renkli sahneler ve özellikle sahnelerde objelerin neden renklendirildiğini düşündüm. Heyecan mı duygu geçişleri mi meraklandım. Ortada anlaşılmayacak bir durum yok. Ama anlaşılacak da bir durum yok. Tüm kişiler başrol karekterimizden bir

Not many films deal with the immediate after-math of WW2, and judging from this film, it looks like it was almost as horrific and scary. The use of second-person narration, projected back-drops, and terrific camera-work works brilliantly for the film, not pretentiously against it.

Through rear projection and trick shots the film creates a bizarre visual design which really contributes to the unsettling atmosphere of Europa, and like most Von Trier films, Europa has a lot to say in addition to the style. But at the same time it's a mess: slumps and occasionally becomes a bore. It's definitely interesting and yet I can't say I'd be thrilled to watch it again. Score is not a grade.

My favorite Von Trier movie, Europa is hypnotizing. The main character is an interesting case of the altruistic individual who wants to help everyone and struggles to take a side in so many matters. The combination of b

To be honest I think most of the sub-text flew over my head, and I was a bit sick of the whole thing by the third act. But I dug the formal inventiveness and the kind of heightened reality of it all, and it made me sad that after this Trier went on to waste his talents all for a joke that nobody got. What a dumbass.

Stark and dreamlike. It's like a hypnotic simulation of a postwar scenario. Sydow's narration is fantastic and the overall visual style helps create an astonishing atmosphere of unease. Narratively, it comes off as kind of thin, like von Trier had an interesting concept and great visual flair, with very little else. Still, it's done so well that it's very much worth it.

I feel like there was a hidden plot here that I missed. Feel free to explain it to me, if anyone is onto it. Something about sleep. Indoctrination. Hypnotism. Causes. Am I close? The actual plot was not terribly interesting, but the hidden plot, which remains slightly obscured to me, has captured my imagination.

Von Trier is supposed to be the ultimate remady, when you feel too intelligent, and also too tired (because of the intelligence) to consume some genuine ciname. Has he failed me? I am not sure, maybe I just expected nevertheless a little more.

I need to see it again

* Casting, Acting : 7 * Script : 7 * Directing, Aura : 8 * Ease of Viewing : 5 * Naked Eye : 8

713

Score based on distant memory. Recollection is of a technically impressive and thematically interesting but slightly cold work.

spielberg loved this movie's style so much that he went on to film "schindler's list".

Memorable cinematography and some horrible moments make this a striking film, but the hero is too emotionless to identify with very much, and the ending just tops off a wholly dissatisfying film.

It may feel like less than the sum of its parts at times. But those parts, the haunting post-war landscape, the claustrophobic train car atmosphere, the back-projection, the narration, are all pretty damn great.

81.500

Messy but very interesting, with some fantastic technical tricks (interesting use of rear projection, great B&W photography, Sydow's haunting voice-over, spontaneous use of color). I feel like I need another watch to fully wrap my head around things, but it's a unique achievement, no doubt.

Visually powerful (except for the jarring rear-projection moments). I just felt like there was something this non-European was missing in the subtext -- or heck, even the main text. (It didn't help that in the slow spots I was wondering if the concept of Snowpiercer was influenced by this storyline.) One of the few movies where the bookend narration works well. Favorite sequence: the examiners appearing at just the wrong time.

The story wasn't as good as what I was expecting it to be. The main character didn't have any dimension and I was not said when he died even though I felt like I should. The best part of the film was the end dialogue, which is also in the trailer. I was disappointed.

A technical triumph, and some very good metaphors (like the curtains being closed when terrible things were going on...just like the eyes of many were closed to the atrocities of war). But I was expecting a story with more moral grip.

Europa (Lars Von Trier, 1991) estreava há 30 anos no Festival de Cannes. Optando por um protagonista kafkiano, mas especificamente moldado no protagonista ingênuo de Amerika que literalmente pega o trem da história alemã andando e igualmente se afoga dentro dele pela própria ingenuidade, é um filme de simbolismo simples, mas esteticamente impecável. WEBRip RARBG.

The true classic of the E Trilogy this neo-noir by Von Trier is a truly magnificent film both thematically and visually. A very interesting meditation on free will in a genre that is often strangled by convention. Once this film builds to its tremendous climax one is left nearly drowning in the work.

Recalls Kieslowski's "Blind Chance" in its political pessimism and fractured narrative structure. Visually: Tarkovsky meets graphic design. Suffers from feeling too aimless to begin with, but picks up nicely halfway through.

I'm normally lukewarm at best towards Film Noir and towards self-proclaimed Noir especially. But strangely this may be the von Trier film I liked the first times I saw it. The psychological and historical interof Noir as an American reaction to the World War II trauma is delightfully turned on its head without ever being to cute or obvious for its own good.

Very psychological and allegoric. The story is not as well organized and/or cohesive as it could be but thinking about it in contrast to the events of WWII makes the experience engaging.

Easily my favorite Von Trier film by a huge margin, almost in spite of itself, in the sense that it essentially embodies everything he would later refute with Breaking the Waves and Dogme 95. Far less than any of his later work, this resembles nothing so much as Welles' adaptation of the Trial, Leos Carax circa Mauvais Sang (sort of), or maybe the films of Guy Maddin. Just about the only thing it has in common with Von Trier's later films is the impression that he doesn't like people very much.

Good, a little creepy, a little slow.

I wonder whether von Trier's intends to convey a specific message here. If I had to guess, I'd say he's pointing out how the catastrophe of war renders noble intentions (pacifism, humanitarianism) meaningless. Apart from the film noir parallels, the movies I was most reminded of were The Human Condition and Dead Man.

Quite fascinating, and the best of the Europa trilogy, but it fell short of some of von Trier's other work for me. The structure is unique and many of the stylistic choices are really interesting, even if I question some of them. I couldn't make much sense of the use of color and black and white, for instance, as for why certain scenes or elements were in one and some in the other. Good film, though.

I'm on board with a lot of pretentious movies but I couldn't stand this at all.

This astonishing conclusion to Von Trier's ambitious trilogy is bleak, nihilistic, and beautiful, with the mix of black and white and color elements, and expert cinematography.

Great visuals. Interesting piece of European history as well, but mostly great visuals.

Boring.