Los idiotas

I'm surprised that no one commented on the pseudo documentary's shaky reality as mirroring the problematic reality of the Idiots in the movie. Their attempts to be real idiots so as to appreciate their "inner idiots" parallels the feature film's attempt to mimic the documentary format so as to achieve credibility. By showing the overacting and crew shots in the movie, perhaps it was the director's way of commenting on the the shaky reality of the Idiots existence.

But even though we know that it's a feature film trying to be a documentary, we are still drawn to the vicarious experience of the movie - we still enjoy it as a movie. Perhaps another statement about finding happiness in a fake reality?

Like Idiots, the audience goes into an escaped reality when they go to the cinema, hoping to experience what the protagonists feel on screen. But like the idiots, the denial is only temporary. The final fate of Karen seems to warn the the audience that at the end of the day, this escaped formed of reality is no match to the "real" world that is out there.

At the close of Cannes 2011; Lars Von Trier's reputation as one of the most gifted yet controversial film makers around was firmly intact hitting new levels of outrageousness; however, it wasn't the first time he has managed to get the crowd at arguably the world's most prestigious film festival talking. In 1998 The Idiots aka Dogme #2 made its debut causing mass controversy; mass criticism; and mass discussion.

Naturally for a film which caused such a stir it's an unusual watch. It's a strange sensation to be made to feel uncomfortable yet totally engrossed in a film and stranger still, feeling guilty for enjoying it. The term "guilty pleasure" is usually used to hide embarrassment e.g. captain of the school sports team loves a chick flick; yet here the term really is applicable.

Credit to the cast who participated largely unaware of what the script would demand of them. We are introduced to Karen (Bodil Jørgensen, playing the films and our conscience) who is then caught up in an anti- middle class gang who spend their time in public 'spassing' out; in other words, pretending to be disabled (PC alarm bells ringing from the off then) in order to release their inner "idiots". Rule three of Dogme 95; a hand-held camera, works particularly well; from the off we are thrown right into the heart of the group, we might as well be made to feel as if we are documenting it.

The film certainly makes an interesting comment on how social behaviour can restrict us and, for lack of a better word, the "licence" given to those struggling with mental illnesses to behave more outlandishly. The character's main release is to pose as those without social confinements in public; however the gang eventually do away with only doing it in view of the public eye; is it a hobby or an addiction? Certainly different members of the group enter into it with different motifs and levels of seriousness.

The Dogme 95 movement on the whole polarised audiences so to say that The Idiots; one of the most famous of all Dogme films, will not be to everyone's tastes is an understatement. The actual subject matter will be off putting to some; a topic such as this being played for laughs in certain parts makes for uncomfortable viewing; even more so due to the fact that it is funny. The film also asks the question of how disabled citizens are treated by society; nearly fifteen years on and it isn't hard to imagine people still being perturbed at the thought of allowing mentally disabled yet completely harmless people to walk around their garden.

Throughout the film Von Trier gives us uncomfortable laughs; mocks the middle class attitude to the disabled; and manages to throw in a shockingly graphic orgy. All of this building up to a real emotional sucker punch of a climax. It isn't until the closing scenes that the film stops trying to provoke the audience's brain and instead aims straight for the heart. If nothing else, The Idiots will get you talking; as if Von Trier would have it any other way.

8/10

Idioterne / The idiots has great similarity to Breaking the waves and Dancer in the dark: A naïve girl falls victim to the circumstances and pays too high a price. Nearly all von Trier's movies are about idealism, and so is this one. Stoffer as the group leader at first seems the binding factor, but as all others have different reasons than idealism to enter the group he establishes his leadership with increasing emphasis on psychological force and less on convincing arguments. As all members have a desire to stay in the group (again for different reasons) he then demands that they go to extreme lengths to show their commitment to the cause and indirectly to him. Hence the orgy scene (as viewers we end up with more seating comfort in the cinema after that). Then all thresholds are passed; the outsider (father) steps in to bring them back to reality and diminish their renewed established group bond. Stoffer then demands the ultimate sacrifice. Only the naïve Karen is able to be an idiot in real life in one of the most painful and harrowing scenes ever put on screen.

It feels somewhat rushed in writing and making which is odd because von Trier is known as a perfectionist. All his directing efforts seem to be put here in the actors so there is good acting across the board. The Dogme-rules only contribute to greater intensity. Von Trier interviews the actors in the movie so there is a parallel between the movie's group dynamics and the actor's group dynamics.

Breaking the waves was in my opinion overlong. Dancer in the dark was placed too much in the fantasy screen world and had therefore less dramatic impact. From the Golden Hearts-trilogy I personally like this the most.

This misunderstood and wildly underappreciated film is up there with Riget and Zentropa in the Von Trier canon, and in my opinion better than Breaking the Waves. Critics focussed on the film's perceived cruel attitude towards the mentally handicapped. Idioterne is actually a very personal film about revolution, healing and Danish society's attitude towards the 'retarded'. It is an incredibly brave and moving film that will have you dabbing your eyes by the end.

Whoever decided that American filmgoers could not be exposed to the sight of penises, however, needs to lose their job. The absurdity of being exposed to full frontal female nudity--while being protected by big black floating boxes whenever a John Thomas is on screen--is an outrage. Did someone REALLY think this film would break through at the box office if these appendages were obscured? Were they concerned that Joe Six Pack was going to take the wife and kids to that new movie by that famed Danish director that's such a big hit with the arthouse crowd? The mind boggles.

I think Lars Von Trier ranks among the best filmmakers as I found his 'Breaking The Waves', 'Dancer In The Dark' and 'Dogville' to be exceptional films of a class apart. Then, I saw 'Idioterne'. I liked the story idea where a group of people form a cult and disobey social rules. However, the telling of it failed to impress me on any level. The execution is very amateur. While the intention of the shaky camera was to give the viewer a feel of being a voyeuristic outsider, in some shots you could actually see the microphone. There are some very explicit and pointless pornographic scenes merely put for shock value. I don't mind shock value as long as it's relevant to the story but what was the need to show a penis or sexual intercourse (where you can actually see penetration)? The acting is quite bad with the exception of Bodil Jørgensen who is terrific as the tormented Karen. Many seem to like the film because of the provocative theme and because it's 'different'. But is that all that makes a movie good?