Les idiots

In Epidemic, one of his previous films, Lars von Trier noted that "a film must be like a stone in the shoe". Eleven years after Epidemic, Lars von Trier is famous, his budgets grew larger and so do the stones he puts in the spectators shoes. No, reality is never what you think it is. It stops moving when you expect it to rush, and than it rushes in a way that makes you dizzy. People that you considered to be serious collapse when it comes to testing their intentions in reality, and people that you never took a note of will prove to be the real heroes of life. At the same time Lars von Trier and his excellent actor ensemble try to explain why (non violent) social experiments always fail, in spite of what we learn at school and watch on TV. They fail for three main reasons. First, the intentions of the hardcore of every movement of this kind are different that the ones they declare on. Second, the few who take a social project seriously will remain outside the hardcore group in a lonely, non-influential position. And third: the external conditions for running an experiment of this kind are such, that it's impact is limited up front to zero, often without the acting persons realize it. A brilliant movie of a brilliant filmmaker, who revolutionized the cinema in the last generation. A must for every thinking person.

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.

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.

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

Look I know jack about Dogme, but I know what I like and I like 'The Idiots'! A LOT.

I find it hard to understand how so much has been said about the "lack" of production values or the nudity in this movie, which to me aren't even worth mentioning, but hardly anyone comments about how astounding the ACTING is! The actors in this, and in Von Triers' previous 'Breaking The Waves', display completely realistic acting very rarely (if ever!) seen in Hollywood. So next time some Hollywood mediocre "actor" is up on the podium clutching their Oscar, force 'em to watch 'The Idiots' and see if they can pull off performances of this calibre! The "biker scene" in itself is one of the bravest, most funny/scary sequences I've ever seen in all my years of move watching!

While I think all the actors involved are faultless, I would single out Jens Albinus as Stoffer as being particularly outstanding. I hope to see him go on to bigger and better things. I say "better", but you won't find many contemporary movies "better" than 'The Idiots'!