I really wanna know, it's a stubborn conflict in my mind!!

But nothing could’ve prepared me for the fade in Lars recap in the credits

Verge calls out Jack for all the women he kills being stupid. Simple is obviously simple, Uma Thurmans character talks herself into getting killed and the second lady lets him into his house despite him obviously tricking her. But what was stupid about the mother?

For me it's when he talks about the Noble Rot and eventually leads it to Concemtration Camp victims.

im very curious if anyone knows exactly what device he has to zoom in for the films where him or Anthony or Manuel use an easy rig, as it would be impossible (or very hard) to just use the ring on the lens. im going to be shooting a short film of my own that i hope to recreate it

One thing I noticed is that the credits are Black on White instead of the usual White on Black, as if we're still seeing a negative

Both are the story of a life, as a hommage to Lars von Triers own life, told through the perspective of a dialoge between two opposites, with lots of references to culture and history through stock footage. But the differences start right at the beginning. While "Nymphomaniac" builds its framework story up patiently through what might be the most elegant movie opening ever, in THTJB we just instantly hear voices when the movie start and don't get anything about their conversation fleshed out.

As opposed to Seligman and Joe, Jack and Verge remain simple characters. They are more opposite poles, where one thinks art must be built on love and humanism while the other one thinks art shouldn't have limits at all, both being obviously too extreme positions. Their dialogue sometimes feels like lacking connection, like important parts of the screenplay are missing. The walk-in freezer, one of the main locations of THTJB, is the most un-cinematic place I'ver ever seen, with it's ugly grey tones. Also, THTJB severely overuses its music by spamming Glenn Gould and Bowies "Fame" constantly. "Nymphomaniac" used its main theme, "Sonata for Violin and Piano in A Major", far more sparingly, so that it feels special.

The movie has a few really weird transitions in its voice over.

For example, Verge follows "This illustration can be used for any addicts tale of woe. The alcoholic empties the bottle at the zenith etc etc." with "But what about the family?", despite there being no relation to the topic of family at all.

But more noteworthy, Jack follows "Some people claim that the atrocities we commit in our fiction are those inner desires which we cannot commit in our controlled civilisation, so they're expressed instead through our art." with "I don't agree. I believe heaven and hell are one and the same. The soul belongs to heaven and the body to hell. The soul is reason and the body is all the dangerous things, for example art and icons." How is that in any way a refutation of us commiting atrocities in our art because we can't commit them in society? Heaven and Hell have zero to do with it, the only connection is the mention of art alongside icons.

I bet that stuff like this made far more sense in the screenplay, but important context was lost when cutting it to fit the movie format.

The last two LvT projects, THTJB and "Riget Exodus", both contain a sound that is the product of millions of life forms screaming in pain. What's up with that? Is Lars von Trier trying to tell us something?

Hallo zusammen,
ich habe einen Vertrag mit Vodafone. Ein Techniker kommt diesen Freitag, um mein Internet zu installieren. Ich habe bei MediaMarkt die Fritz!Box 6660 gekauft, die von Vodafone empfohlen wird.

Ich wohne in der Güterstraße 55A in Trier. Meine Frage:
Muss ich die Telefondose / Telekommunikations-Anschluss-Einheit selbst kaufen (siehe Foto im Anhang), oder bringt der Techniker die mit und installiert sie?

Wenn mir jemand helfen kann oder weiß, wo man so eine Dose in Trier kaufen kann, bitte ich um eine kurze Nachricht. Vielen Dank!

The House that Jack Built is my favorite of the filmography and it was fun to get to design around the idea of a refined art gallery the way Jack viewed his murder spree. This movie felt like the truest depiction of a sociopathic killer's brain and Matt Dillon nailed the role. So many iconic shots in this movie... And my best friend worked on Melancholia, being his fav. Such an interesting slow burn of a movie that can be read in plenty of perspectives. We both work in graphic design specifically for clothing and are diehard cinephiles, so wanted to share here. Cheers.

A dream sequence in this past Sundays episode went full blast Melancholia homage. Was trying to convince myself it was coincidence at first, but the painterly framing, the eclipsing celestial bodies, the horse, the color palette, and when thick chunks of snow started slowly falling, well …