After reading some of the negative comments here regarding DITD, I've come to a few conclusions...
1. The freedom to express ones opinion is an extraordinary one and not to be taken lightly. 2. The Internet gives voice to far too many people of dubious intelligence. 3. To pan DITD for anything related to its emotional nature is to reveal, potentially, how completely and irredeemably shallow one is.
Okay, so much for my humble opinion. Now that I've gotten that out of the way, let me say that, at one point during my first viewing of DITD--it might be my last viewing, too--I said to my companion that Bjork's performance reminded me of Falconetti's in Dreyer's PASSION OF JOAN ARC. After viewing the film, I read that, indeed, von Trier counts among his heros Carl Dreyer. I'm not a fan of von Trier nor have I seen his other films, so finding this out began to give me something of a place to start in dealing with the way it touched me.
Not being a Bjork fan and not having any of her recordings, I have to say, too, that I have a new found respect for this artist. She's extraordinary in this film, and I will give her music a thorough listening very soon.
The only fault that I can find with the film is that Deneuve doesn't have a larger role. Kathy's, Deneuve's character, interactions with Bjork's Selma, for me, highlighted the film; additionally, Kathy's last interaction with Selma is, in my opinion, is among the greats of cinema.
As for viewing the film, again, and as much as I would like to watch it with my mother, I don't know if I can. Its insight into human nature might just be too much for me.
1. The freedom to express ones opinion is an extraordinary one and not to be taken lightly. 2. The Internet gives voice to far too many people of dubious intelligence. 3. To pan DITD for anything related to its emotional nature is to reveal, potentially, how completely and irredeemably shallow one is.
Okay, so much for my humble opinion. Now that I've gotten that out of the way, let me say that, at one point during my first viewing of DITD--it might be my last viewing, too--I said to my companion that Bjork's performance reminded me of Falconetti's in Dreyer's PASSION OF JOAN ARC. After viewing the film, I read that, indeed, von Trier counts among his heros Carl Dreyer. I'm not a fan of von Trier nor have I seen his other films, so finding this out began to give me something of a place to start in dealing with the way it touched me.
Not being a Bjork fan and not having any of her recordings, I have to say, too, that I have a new found respect for this artist. She's extraordinary in this film, and I will give her music a thorough listening very soon.
The only fault that I can find with the film is that Deneuve doesn't have a larger role. Kathy's, Deneuve's character, interactions with Bjork's Selma, for me, highlighted the film; additionally, Kathy's last interaction with Selma is, in my opinion, is among the greats of cinema.
As for viewing the film, again, and as much as I would like to watch it with my mother, I don't know if I can. Its insight into human nature might just be too much for me.