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Without a doubt, this is one of the most emotionally devastating films I've ever seen in my life. It seems to be a rumination on the true nature of goodness. Bess is a simple creature and her purity and innocence are delivered by Emily Watson in a heartbreaking performance that you will not soon forget. It is a crime that Watson didn't win Best Actress for this role, though I imagine that many voters were turned off by the disturbing subject matter of this film. I had a visceral reaction to the film in the form of serious physical and emotional discomfort. I had rented it, and actually had to stop it at several points and give myself some time to recover before continuing on. I'm not sure it's a film that I'd ever want to see a second time, but I believe it is a true work of art and am grateful to have seen it.

Emotional power is one of the most difficult and complex aspects of film-making to succeed in. Very few films can manage to be emotionally destructive, while still retaining the viewer's concentration and dedication to the piece. Yet, Breaking the Waves is a film that holds more emotionally power that most films, it is not a film you will want to see again. One viewing is enough (at least for a long period of time). Bearing in mind, you will feel devastated by the film's self-destructive nature and after viewing such an unforgettable story of heart ache and sadness you will have etched into the back of your mind.

Breaking the Waves is a complicated story; it is one that studies love, regret, guilt, madness and religion. Breaking the Waves is set in a small religious town deep in Scotland and tells the sorrowful story of the innocent Bess (Emily Watson) and her lover Jan (Stellan Skarsgaard). Jan becomes paralysed in a freak accident at the oil-rig he is working on and asks his estranged wife Bess to have sex with other men and then tell him what it was like to keep their relationship stable.

Lars Von Trier, the founder of Dogme film-making creates a drama that remains in a league of its own. Though Breaking the Waves is not Dogme film-making (like The Idiots) it still has elements of Dogme film-making style littered around it. The film is separated into chapters, which work as wonderful mood and symbolic transitions. These sequences are a single shot focusing on something that is considerably impressive, with the added touch of a brilliantly chosen song to fit the mood. The film's general direction is one that feels like it has been shot with a hand-held style.

The film studies many questionable elements of life, including topics such as death, terminal illness, spirituality, emotions and hypocrisy in religion. These are just a view of the talking points that crop up throughout the long running-time. The film asks the viewer questions and most importantly tests how much harrowing devastation you can handle. There is no denying just how pure Breaking the Waves is.

Emma Watson gives a career defining performance with her pitiful role of a naive young woman, who just wants to be free from pain. The performance is very painful to watch because it is so unbearably realistic. You become apart of her journey and watch her emotions and sanity spiral out of control, even from the people who love her. Heartbreaking in every way.

Breaking the Waves is a difficult film and one that is not for everyone, though I say it is a film which deserves the critical acclaim it gets.

Although Lars von Trier's "Breaking the Waves" is undoubtedly one of the most impressive films of recent years, I have delayed commenting on it until now, as my feelings about it are far from clear. Certainly it has an arresting quality that held me in a vice-like grip for nearly three hours - no mean achievement as generally once over the two-hour threshold one is looking for the scissors. But, no, it has a mesmerising quality that reminds me of Dreyer's "Ordet" at times. Both are set in remote communities and deal with religious concepts which, even for a semi-believer, remain difficult to comprehend; in the case of Dreyer the miracle of a resurrection and here the hint at something similar in a final scene I will not reveal. Both films have a supposedly mentally unstable central character, a young man who talks as Christ in "Ordet" while Bess, the young woman in "Breaking the Waves" talks to God who answers her in her own voice's deepest register. Bess falls in lave with Jan, an oil-rig worker and the early scenes chart their wedding. When Jan has to return to the oil-rig the distraught Bess prays to God for his return, a prayer that is answered ironically when he returns paralysed from the neck down after an accident on the rig. How Bess lives with this situation is the subject of the second and third hours of the film. These have at times an almost unbearable intensity and at one point, where a group of children taunt Bess, we are in deepest "Mouchette" country. It is one of those very rare films where I feel the use of a hand-held camera to be completely justified as it gives extraordinarily emotional events a frenetic immediacy. However by punctuating the action with chapter headings set against long held landscape stills, moments of an almost trance-like repose are achieved between each onslaught on the senses. Whether the film is anything more than a quirky tale of sexual derangement bordering on morbidity is something that two viewings have left me uncertain about. That I have compared it to Dreyer and Bresson is evidence that it is not a work to be ignored, but at the moment I have a gut reaction that there is more than a hint of sensationalism here that somewhat diminishes its artistic integrity when set beside the work of the earlier masters.

Lars von Trier's Breaking the Waves is the kind of film that makes me proud to be a film-goer and exceeds anything I could have possibly expected from the man who made Element of Crime. That film had some clever experimentation (and so does this one) but this film is the kind that's beauty and power echoes in your mind hours after you've watched it. This is a flabbergasting work of art that portrays a woman's quest to please God and does so with the complexity and emotional power of a Bergman film (not to mention the fact that the film portrays a woman's intense suffering in world sternly ruled by men with the power of a Dreyer film). If von Trier made nothing else of any merit for the rest of his career, if all he did was make marginally interesting film experiments, I wouldn't hesitate to call him a great filmmaker on the soul basis of this film. Anyway, you get the picture… The film stars Emily Watson as Bess, a shy and neurotic girl who is filled with joy to be with her new husband Jan (Stellan Skarsgard who is exceptional). When Jan is paralyzed after an accident at the oilrig he works in, he is in danger of losing his life. He convinces Bess to see other people and Bess wants nothing more than to make him happy and to prove to God that she loves him. After some disastrous complications, Bess is led to believe that she can please God and save Jan's life by having numerous sexual encounters with strangers in town. This sounds like a grungy tale, but von Trier tells it with such humanism and focus on his themes that we never feel like he is rubbing our faces in drear. And Watson is delightful, frightening, and heartbreaking as a woman who will stop at nothing to please those around her. Her one-sided conversations with God (in which she looks up in the air submissively and pleas and then looks down with a deep voice of wrath and scolds) are both funny and sad, not to mention the fact that they reveal seemingly endless amounts of details about who she is. The film is made with a hand-held camera and a visually stunning solarized style. This style does not make the movie; it just adds richness to each scene in the way it gives each face such shadowy texture. In the end, von Trier seems to believe in God but does not believe in the churches that try to codify what he wants. All of this works because of von Trier's passionate desire to understand how one can please God under horrendous terms; the epilogue, that takes the already-great material to a new level and shows how inspired von Trier is, starts with a moment of sad irony and then leaps to the skies with an image that fills the most atheistic person with questions and the more religiously spiritual people with hope. Here is a film that reaches for the stars and makes it there.

Initially, this story about the marriage of young Scottish woman and a Scandinavian oil rig worker had my eyes glazing over. I was ready to hit the eject button about 20 minutes into the movie. But I held in there and slowly was drawn in to their lives, their environment, and the ghastly tragedy that confronts them.

Lars von Trier is a very patient storyteller, as well as being an eccentric movie maker. In Breaking the Waves, he slowly, very slowly unfolds his drama. The problem is; you have to pay careful attention, and this can be difficult. Von Trier's style, with its hand-held camera, lack of artificial lighting, grainy photography, and lingering close-ups can try the patience. The movie is also long, clocking in at about 2½ hours. But if you see it through, the final half hour will blow your mind, and you will have seen one of the best (and most emotionally powerful) movies of 1996, maybe even the whole decade.

A film about love, faith, religion and many other things, it is a draining experience but yet fascinating to watch, with superb acting and an intriguing main character. It is surprising how gripping the film is, as it is difficult to watch, not just because of the subject matter, but also because of its style. Made by the conventions of Dogme '95, the film has many extreme close-ups, generally shaky camera-work and errors in continuity for editing and audio levels, all of which is supposed to amount to a film that looks and feels more realistic. With this film though, the quality of the acting and writing provide enough realism alone, and therefore the style serves no purpose other than to make the film more difficult to digest. It is an incredibly long film, and while this is not too much of a problem, the chapter markers are noticeably long without much reason either. Still, the film comes through despite its detracting bits. Watson, in her first film performance, is excellent, and Cartlidge provides great support. This is not an easy film to watch and like, but it is easy to admire what is done well in the film.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)

Emily Watson's performance is extraordinary, and Stellan Skargard is very good, but this is without a doubt the most degrading, depressing and tragic movie I have seen in a long, long time. I had to force myself to watch it, hoping that somehow something redeeming would transpire. Two and one half hours later I can say that it did not. I wish I could say that this was a great work of art, but it is not. It is a sad, very sad commentary on the madness of human beings, a twentieth century 'tale told by an idiot, full of sound and fury signifying nothing.' Particularly depressing were the church fathers in their beards and their stupidity. And be forewarned, the sexuality is degrading, and the very essence of human love is willfully and repeatedly perverted.

In making this movie, Director Lars von Trier no doubt sought a kinship with the tragedies of Shakespeare and the Greeks in which the fates destroy the protagonist because of a so-called 'fatal flaw,' a flaw the protagonist cannot help. Bess's fatal flaw was her childlike nature twisted by circumstance. In the great tragedies the essential purpose is to bring the audience, through its involvement and its identification with the protagonist, to a catharsis, a catharsis that cleanses the emotions and allows us to see the world as it really is, free of self-delusion. But Von Trier's bizarre and pathetic ending with those ridiculous bells in the sky was closer to bathos than anything else, and steered us not toward catharsis but into a kind of emotional limbo where not even emptiness is felt.

In this film, legendary filmmaker and figure of controversy Lars Von Trier gets as far away from his earlier films as possible. From almost excessive visual stylization and remoteness, he uses an approach that is disturbingly documentary-like, heavily reliant on improvisation and incredibly intimate for the first time.

Breaking the Waves is the story of simple-minded, good-hearted and slightly bonkers Bess McNee (Emily Watson in her first role!) of a secular Scottish community. She falls for a stranger from an offshore oil rig (Jan, played with consummate charm and tenderness by Stellan Skarsgard) who's long absences torture her. Eventually, he returns, paralyzed and, wanting Bess to live happily, convinces her to take lovers, telling her it will cure him while hoping for her to find someone else. Things (mainly Bess's mental state) go quite horribly wrong from that point on..

The story of itself is ripe with melodrama and would strain the credulity of even the most naive of viewers if done conventionally. Such is not the case however and Von Trier turns a horrid tale into something intimate, real, tender and heartbreaking thanks to a bare-bones approach that puts all the more emphasis on an excellent cast (especially the late Katrin Cartlidge as Bess's widowed stepsister Dodo). The witty musical interludes that serve as chapter marks to the story only serve to further put you under the spell.

Though the film is excellent on its own, it is part of a thematic trilogy (along with the dogma effort "The Idiots" and the astounding "Dancer in the Dark"). The main point is that Von Trier keeps toppling rules and barriers. Good. That means there's more to look forward to...

I have never seen an actress who can express more with her eyes than Emily Watson. Despite its length and the hand held camera, BTW is an unusual film about love and obsession. Jan can be interpreted as sick for what he asks Bess to do- but he comes around and realizes his sin- but it's too late for Bess. Faith and love get all mixed up in this movie- it's sad and powerful.

The movie makes the viewer really think about how far they will go if they love someone. Bess is pure in her own way and it is her downfall. Thought provoking film that contrasts religion with love and what God intends for us.

I just finished watching "Breaking the Waves" and am still not sure whether it was a good film or a strong piece of manipulation. Perhaps there is ultimately no difference.

Emily Watson was luminous and altogether convincing, and the camerawork didn't bother me in the slightest. On the contrary, it suited the story immensely - as did the deliberately washed-out palette. A brilliant invocation of a time and place.

However, the story left me feeling like I'd just watched someone kicking a puppy ... for several hours. I dislike the implication that such brutal and violent self-sacrifice can be justified by intense love, and to have this line wrapped up in a dewy religious shroud is a cop-out. It's like watching a documentary about the horrors of sideshow life - with plenty of explicit segments starring the freaks themselves. Allows an audience to moralize and yet be voyeurs at the same time.

Poor Bess was more than naive - whatever brain she was born with was utterly starved of oxygen by the narrow and restrictive community she was born into. I sympathized most with Dodo, who of them all loved Bess the most, and the least selfishly.

I find myself very angry after seeing "Breaking the Waves", which is why I cannot say that I disliked this film. Had I truly disliked it, my response would be less emotional.

A very Biblical piece on sacrificial madness as Bess, (played brilliantly by Emily), goes about whoring herself to cure her paralysed husband, Jan. So be prepared because anything goes when Lars von Trier is in control.

Chapter 1 – Bess Gets Married: In a backward religious village in the north of Scotland, the naive, immature, pure, susceptive, repressed and emotionally unstable Bess McNeill (Emily Watson) gets married with Danish worker Jan Nyman (Stellan Skarsgård) that works in a drilling rig. Chapter 2 – Life with Jan: Bess has wonderful days of honeymoon with Jan, making love everywhere with her beloved husband. Chapter 3 – Life Alone: Jan has to embark to work in the oil-rig and Bess miss him. She prays to God to send Jan back home. There is a blowout in the drill deck and Jan is seriously injured, becoming completely paralyzed and the doctor diagnoses that he would never walk again. Chapter 4 – Jan's Illness: Bess talks to God and blames herself for the accident of her husband. When Jan tries to convince her to have sex with other men, Bess gets disturbed the same way when her brother and Dodo's husband died and she was interned. But she believes she has a connection with Jan through spiritual love and the might power of love guided by God will heal Jan. She decides to prostitute to help Jan with tragic consequences along Chapter 5 – Doubt; Chapter 6 – Faith; Chapter 7 – Bess' Sacrifice; and Chapter 8 – The Funeral.

"Breaking the Waves" is a heartbreaking and cruel tale of intolerance, faith and unconditional love. The sweet and lovely Emily Watson has a stunning top-notch performance in the role of a infantile and good woman that believes in the power of love. She is able to transmit emotions through the closes of the face and eyes of her beautiful character. Lars von Trier is amazing as usual and among my favorite contemporary directors ever. His nihilist story with the destruction of moral and religious values has a surprising conclusion with redemption to love and spirit that has no boundary and prevails. Stellan Skarsgård and Katrin Cartlidge complete the lead cast with magnificent performances.

The music score is another plus of this movie. The introduction of each chapter uses a classic from the 70's, with "All the Way From Memphis"; "Blowing in the Wind"; "Pipe Major Donald Maclean"; "In a Broken Dream"; "Cross Eyed Mary"; "I Did What I Did for Maria"; "Virginia Plain"; "Whiter Shade of Pale"; "Hot Love"; "Suzanne"; "Love Lies Bleeding"; "Goodbye Yellow Brick Road"; "Whisky In the Jam"; "Child in Time"; "Your Song"; "Siciliana"; "Gay Gordons"; "Scotland the Brave"; "Barren Rock of Aden"; "Happy Landing".

I do not like to write extensive reviews but Lars von Trier usually shakes my emotions and in the end I write more than I wished. In Brazil, this feature was released on VHS by Flashstar distributor. My vote is nine.

Title (Brazil): "Ondas do Destino" ("Waves of the Destiny")

Life is complex in many ways yet so simple, emotions complicate especially if they are deep, you can go through life without pain but their will be a price to pay and that is no pleasure. Breaking the Waves is a roller-coaster ride and i feel for the characters in this movie i feel their pleasure and pain, bitter sweet. Emily Watson became one of my favorite actors after this movie, she is truly amazing in the role of Bess McNeill. Director Lars Von Trier gets everything right here and makes the movie all directors dream of and at the same time fear, how can you make better a movie. I went to the cinema ten years ago and knew nothing about this film and some guy was making a speech about this film before the movie started and only reason i was there was that i had nothing better to do. I had the perfect cinema experience of my life and only a handful of films have moved me like this one did. Lesson in life a lesson in human behavior and a lesson in hate. I cannot stress this enough all people should watch this film, gives you a bit of happiness and also a lot of pain just like when you love someone.

Watson's performance truly mirrors a psychotic personality while leaving intact a love beyond words. I felt my heart break and with her die in this film. The power of her performance is devastating.

Watson drags us down and raises us up with mood swings moving from ecstasy to utter hopelessness. Her range of facial expressions and body language seems limited only by the script.

This film is the first performance in which I have seen Watson perform and I intend to look at more of her work. Although the film itself can seem long, we always look forward to the scenes in which Watson uses her expressive visage to convey the hurt and turmoil the character is feeling.

Very hard to surpass

It's very hard to rate this film. It's definitely great, but I did not like it at all. This film is about how disturbing and perverted love can get. It's long and hard to watch. The whole idea is interesting and very well executed. The chapter intermissions are great, the song choice is fantastic. I just could hardly watch it, the content is truly disturbing. I have seen many banned films like A Serbian FIlm or Cannibal Holocaust, but this was much harder to watch.

Breaking the Waves is the best film to hit world cinema since 1976's Taxi Driver. I have never seen a movie that more powerfully defines love, commitment, and, eventually, redemption. The film is now only four years old, but its reputation is growing. This film has sparked much debate between myself and the people I have recommended it too. Most are initially turned off by its shaky camera style and disturbing theme, but, upon giving the film more thought, are very happy to have seen the film. In fact, if anybody ever asks you to define love and devotion, show them this movie.

One more thing, Emily Watson is the most courageous actor on the planet right now, and this movie is the reason why.

Not expecting much at all I found this drama a rewarding experience, so intense it affected me for days and I rate it as one of the best films I have seen this year.

A little town on the North Sea coastline is virtually run by the local church, narrow in its views to an extreme. Strangers are viewed with suspicion, women take no part in church activities (except perhaps in washing the floors) and even the church bells have been taken down. Who needs to disturb the peace with such frivolous bell-ringing?

When Bess a local virgin marries Jan an off-shore oil rigger, the whole town is set a-gossiping but Jan and Bess are free spirits who enjoy moments of intense love for each other.

The hand held camera work I thought was great. It gave a sort of intimacy and excitement to the movie. The editing too left no dull moments.

I liked Jan's workmates, a rowdy bunch of fellows, full of fun in the changerooms Their childlike teasing contrasted well with the awful tragedy that was about to unfold

Bess and Jan make a strange contract when Jan ceases to be able to function as a virile man. The arrangement is as preposterous as the outcome, but it is made unselfishly in consideration for each other.

The acting is superb under the direction of a great director. Dear Bess is quite a bundle to handle. Although she is considered mentally unstable she analyses her feelings, speaks from her heart and communes with God in her darkest moments, in her hour of need.

This is truly great film making.

Emily Watson's performance is amazing. Her ability to convey vision and inspiration with a gleam of her eye is just incredible. Sandra Voe was a standout as her mother, and the actor who played sister-in-law Dodo is unforgettable. I cannot say the same about the male actors. The fellow who plays husband Jan does what he can in a relatively thankless role.

The other male characters are ALL self-righteous (including the young boys), obnoxious, and obstinate beyond all humanity, and most especially among these, the clergy. They aren't characters at all but representative of van Tier's dripping irony. "Dodo" is , by far, the most intelligent person in the film. The priest act in opposite fashion to one of Jesus' parables in every scene in which they appear. Emily Watson's Bess commits adultery with blessings, nay orders, from her husband, and God. Do you get it? Christianity is hypocritical crap, and God's love can only be reflected in human acts of love. The hand-held camerawork also gets to be annoying despite a few brilliantly photographed scenes.

Overall, worth watching for the female actor's performances, but little else.