如果说拍摄电影是为了让银幕之下的观众陶然于卑劣的现实,那么有位导演是在险恶和反思之间玩弄看客心理的神棍,他的电影不试图去创造让观众产生带入情绪的溺毙快感,而就是其本身。这个人就是拉斯·冯·特里尔,1956年4月30日出生于丹麦哥本哈根,当今最具才华的导演和演说家之一。除了赫尔佐格,依然在世的电影工作者中很少有人可以超越民族意识和文化壁垒,创造一种可以摆脱时间规律和地心引力的电影形态,拉斯·冯·特里尔是为数不多最接近的人之一;如果北欧的冰雪给这个有“青年戈达尔”之称的电影导演注入了一些力量的话,那么无疑是斯堪的纳维亚的神性传统和黑暗品质,这一点并不使得诸如《黑暗中的舞者》、《狗镇》中的人物显得真实可信,但会让这世界上的绝大多数电影变成迪斯尼游乐园。但吊诡的事情在于,心智成熟和方法求新并不是拉斯·冯·特里尔的标签,肆无忌惮的被宠坏的孩子气才是。他有时候太沉醉于和电影对抗的乐趣,这让他的职业生涯毁誉参半,不过也许他心里知道,诽谤和讥讽的人是出于嫉妒,而追捧的人是因为懦弱。 If filming is to make the audience below the screen indulge in despicable reality, then one of the directors is a god stick who plays spectator psychology between sinisterness and reflection, and his movie does not try to create a mood that brings the viewer into the mood Drowning pleasure, but it is itself. This person is Lars von Trier, born April 30, 1956 in Copenhagen, Denmark, one of the most talented directors and orators today. With the exception of Herzog, very few of the still living filmmakers can transcend national consciousness and cultural barriers and create a cinematic form that can get rid of the laws of time and gravity. Lars von Trier is one of the few One of the closest people; and if Nordic snow and ice infuse this force into a film director called “Godard of Youth,” it is undoubtedly the Scandinavian divine tradition and the dark quality, This does not make people like “The Dancer in the Dark,” “Dog Town,” look real and credible, but turns the vast majority of the world’s movies into Disneyland. But paradoxical things are that mental maturity and methodological innovation are not labels of Lars von Trier, unscrupulous spoiled childishness is. He was sometimes too intoxicated with the confrontation with the movie, which made his career mixed, but perhaps he knew that slander and sarcasm were jealous and that the sought after was cowardly.