Epidemie

Epidemic (1987), directed by Lars von Trier, is a meta-cinematic exploration of the blurred line between fiction and reality. The film follows a director and screenwriter who, while working on a script about a plague, find themselves caught up in a real-life epidemic, mirroring the events they are writing. This film is a challenging and unconventional piece of work, characteristic of von Trier's early style, marked by its fragmented narrative and philosophical underpinnings.

The performances are fittingly restrained, with Allan De Waal and Ole Ernst bringing a sense of detachment and intellectual depth to their characters, reflecting the film's thematic concerns. The film's low-budget aesthetic, with shaky handheld camerawork and raw sound design, serves to reinforce the sense of chaos and uncertainty that permeates the narrative. It's a deliberate stylistic choice that enhances the surreal, almost documentary-like atmosphere, but it may be off-putting to some viewers who prefer more polished filmmaking.

Von Trier's direction is methodical, and while the premise of the film offers intriguing possibilities, the execution can feel disjointed and unclear at times. The dialogue often veers into abstract territory, and the narrative structure is fragmented, leaving viewers to piece together the meaning behind the events. The film's slow pace, combined with its minimalistic style, can make it feel like a deliberately inaccessible work, challenging the audience's patience.

Epidemic is a film that operates on multiple levels, blending political, artistic, and existential commentary with a quasi-documentary style. While it offers some thought-provoking moments, it struggles to maintain coherence and impact over its runtime. It is best suited for those interested in avant-garde cinema or those looking to delve into the early works of Lars von Trier, but casual viewers may find it frustrating.

Rating: 6/10. A provocative, if uneven, exploration of the intersection between art, reality, and societal collapse.

Of course, you gotta be a masochist to enjoy some people's genius - you know that if you bear with them they will take you to new levels of perception.

With Lars von Trier, the voyage is often hilarious. Epidemic is funny. Funny, in a Gummo kind of way: the characters are real, reality is eerie, and we laugh to break the tension; funny in a the characters say amusing things kind of way (preacher: "this bible is in goddamned Latin"); and funny in an Andy Kaufman screwing with the audience (yes, you) kind of way.

Make no mistake: you will suffer. If you are afraid, stay away from horror movies, ya pansy!

This movie also features some great aesthetic distance! It's bold!

I obviously was in the right mood, since I don't give it a horrible mark. I do give it a 6 out of 10, because it is obviously such a low budget movie and it's definitely very original, but other than that, I am still amazed I watched it till the end.

Two screenwriters are trying to do in 5 days what they barely succeeded in one and a half years, that is write a script. They lost their original screenplay, which by now they can barely remember how it started, due to a bad disk. Each day is accompanied with scenes of their creative process, scenes from the movie they would do and dialogues with different people.

Now it happens that I've just written an IMDb comment that said "Funny little things: Udo Kier plays a short role in this movie, and he is really young". Deja vu! Udo Kier plays in this one, as well.

The movie is shot in black and white, probably by the same single camera, and the sound is almost not processed giving the whole movie a documentary like feeling. There are a lot of things written between the lines, the satire of the government and film industry being the most obvious.

Conclusion: you should watch this mostly if you're Danish. Else if you are a movie critic or deep into films. It is NOT a horror movie. A movie that has some gore at the very end is not horror. And also you have to have the right set of mind to watch it.

Another entry in my search to see a bunch of films about disease outbreaks, "Epidemic" is conceptually intriguing, but the actual execution is dreadful. It's amateurish, and Lars von Trier and Niels Vørsel, scenarists within and without the film, seem to have approached the entire thing as a joke; the end result being that the film itself is one. And, for crying out loud, take that damn red watermark of a title off the screen already! Seriously, the title, "Epidemic," along with an e in a circle, is in the upper left side of the image for most of the picture--and in red in an otherwise black-and-white film. I thought there was something wrong with the DVD or my home-viewing equipment--I'm still not entirely sure, because it makes no sense why the title would remain there for the rest of the whole movie. The lousy lighting and noisy photography, from what mostly seems to be 16mm film, is rather a blessing in this regard, as it sometimes obscures the ever present title in indiscernible darkness. Besides that, I also wanted to smack the smirks off their faces most of the time. Stop laughing, guys; none of this is amusing except, perhaps, for part of the ending. Aside from the Grand Guignol, my favorite part has the screenwriters' boss deploring the two's lack of a full script, for which they were hired, and deploring their film's ending, which he says is "pathetic" at best.

What there is is a skeleton of a script and a plotline painted on a wall. Literally, this is what is shown in the film for the writing of the film-within-the-film, also titled "Epidemic," and it's believable that's all they really did write for this entire film. I believe they mention this lack of planning in the DVD commentary, on which the two otherwise spend most of the time giggling at themselves giggling in the stupid movie. It's obnoxious. Hard to believe one of them, von Trier, went on to be the most famous Scandinavian filmmaker since Ingmar Bergman. Regardless, the premise of the thing was promising, of the film-within-the-film infecting the outer narrative--the movie as monster, as the source of the epidemic--as the writers in the outer one have likewise been infecting the inner film. These sort of meta narratives are catnip to me, so one needs to go out of their way or, rather in this case, not go out of their way at all, to dissuade me of it.

The film even begins with what seems to have been a waste of a good pun by not making clear that their script is lost to some sort of computer "virus," with the other sort of virus deadly to people occupying the film they decide to write after losing their previous effort, which apparently was so bad they can't even remember it so as to re-write the thing. From there, we get a shaggy-dog story--like the first car ride that goes nowhere, as do several of the film's other rambling detours. The texting while driving gag--with a typewriter (this being 1987) isn't bad. At least Udo Kier's scene is an interesting telling of his birthday, too, but otherwise we get pretentious wine tasting, a story of Vørsel's creepy correspondence with teenage girls from Atlantic City, and a woman hypnotized into the film-within-the-film who bawls and screams over how awful "Epidemic" is. I didn't think it was that bad, but it was a chore to finish it.

Look, I know a substantial proportion of the American population get a little hot under the collar when funny-talking foreigners start criticising the American government and way of life, but hey - when you're the only country in the world inclined to and capable of dictation of world policy, you gotta take it on the chin. While Von Trier even makes me wince sometimes (the end credits to Dogville for instance), it's his point of view and is worthy of thought. He isn't here to lick your derrière clean for you - if you can't take a little criticism of the homeland, I'd steer clear of any imported movies for a while. Anyhoo, when truly disrespectful films like Titanic break records and reap awards with nary a raised eyebrow, it's double standards to expect non-US films to walk the line you'd like. Von Trier is a genius film-maker... you may not agree with his politics, but you cannot doubt his talent.