Idioterne (1998)

Calificación de los usuarios:

6.7/10   

Guionista:

Lars von Trier (writer)

Fecha de Lanzamiento:

20 mayo 1998 (Belgium)

Género:

Comedia | Drama

Frase comercial:

Society is the mother of all Idiots

Plot:

The group of people gather at the house in Copenhagen suburb to break all the limitations and to bring out the "inner idiot" in themselves.

Plot Keywords:

Cult | Community | Public Nudity | Disturbing | Male Frontal Nudity

Premios:

5 wins & 4 nominations

Comentarios de los usuarios:

ambivalence unbounded

Reparto

Bodil Jørgensen	...	Karen
Jens Albinus	...	Stoffer
Anne Louise Hassing	...	Susanne
Troels Lyby	...	Henrik
Nikolaj Lie Kaas	...	Jeppe
Louise Mieritz	...	Josephine
Henrik Prip	...	Ped
Luis Mesonero	...	Miguel
Knud Romer Jørgensen	...	Axel
Trine Michelsen	...	Nana
Anne-Grethe Bjarup Riis	...	Katrine
Paprika Steen	...	High Class Lady
Erik Wedersøe	...	Stoffer's Uncle
Michael Moritzen	...	Man From Municipality
Anders Hove	...	Josephine's Father

También conocida como:

Dogma 2: 'The Idiots' (International: English title) (complete title)
Dogma 95 - Idioterne
Dogme # 2 - Idioterne (Denmark) (series title)
Dogme 2 (Denmark)
Idioterna (Sweden)
Idioti (Italy)
Les idiots (France)
The Idiots (International: English title)
Los idiotas (Argentina) (Spain) [es]

MPAA:

Rated R for strong sexuality and nudity, and for language.

Duración:

117 min | South Korea:110 min (cut)

País:

Denmark | Sweden | France | Netherlands | Italy

Idioma:

Danés

Color:

Color

Relación de Aspecto:

1.37 : 1

Sonido:

Dolby

Clasificación:

Iceland:14 | Iceland:16 (video rating) | France:-12 (original rating) | Singapore:R(A) (cut) | Canada:18A (Canadian Home Video rating) | Argentina:18 | Australia:R | Chile:18 | Finland:K-16 | Germany:16 | Hong Kong:III | Ireland:(Banned) | Italy:T (cut) | Italy:VM14 | New Zealand:R18 | Norway:18 | Portugal:M/16 | South Korea:(Banned) (original rating) | South Korea:18 (re-rating) (cut) | Spain:18 | Sweden:15 | Switzerland:18 (canton of Geneva) | Switzerland:18 (canton of Vaud) | UK:18 | USA:R (cut)

Locaciones de Filmación:

Søllerød, Sjælland, Denmark

Compañía:

Zentropa Entertainments

Trivialidades:

Part of the Canon of Danish Art and Culture.

Errores:

Incorrectamente calificados como errores: This is a film that adheres to the 'Dogme 95' manifesto, so the usual goof rules do not necessarily apply. This includes shots of the crew, microphones and other equipment, as well as continuity errors.

Citas:

[at Stoffer's birthday party]
Susanne: I think Stoffer should choose what we do next. Because it's his party.
Stoffer: Gang bang.
Susanne: No, listen, we've got picture lotto, spin the bottle...
Stoffer: Gang bang.
Nana: Count me in. Gang bang! Gang bang!

Conexiones de Película:

Apareció en Anecdotes from 'Europa' (2005) (V)

Banda de Sonido:

Vi Er Dem De Andre Ikke Må lege Med

ambivalence unbounded

I really liked The Idiots, I enjoyed it, found it interesting and it gave me a great deal to think about. But I also have major problems with it. Most of these issues have to do with the tenets of the Dogma Manifesto (although I don't know it off by heart, I am familiar with it) which smack of school-boy anarchy and have little to do with the true expansion of cinema's boundaries. However, I do like The Idiots, I really do. My main problem with the film and the manifesto is the assumption that Von Trier is pushing limits when he really isn't. It seems to be more of a publicity vehicle, a method for gaining notoriety rather than challenging the manner of representation. His transgressions are pretty infantile – formally we get a shaky camera, unfocused compositions, booms in shot (I mean, really ) and aberrant performances. Thematically we are confronted by perverse or repellent material and, horror of all horrors – images of copulating genitals. Rebellious? – has Von Trier ever seen any pornography? The truth is his so called transgressions are only transgressive to traditional mainstream representations so Von Trier is not challenging the limits of cinema but rather the paradigms of the mainstream. Now there's nothing wrong with that, that's good – Bunuel, Godard, Warhol, Waters – but for Christ sake just shut up and do it! Manifestos are for poseurs and unabombers – leave it to them and just get on making films. Here's an idea, for free form cinema try not making ANY rules. What I find most intriguing about The Idiots is how the thematic aspects so keenly reflect the filmmaker. The idea of a commune of pretentious sophisticates whose concept of transgressing the ghastly bourgeoisie is by confronting them with unpleasantness which plays on their traditional beliefs and desire for control is in my book the film's great irony. Also, for the most part Von Trier ought to be congratulated for exposing himself to such an obvious criticism. Although, unfortunately his representation of the middle-class characters who suffer the indignity of meeting the members of the commune as they are 'spazzing out' is strictly one-dimensional. Each of the other characters is mutli-dimensional and their participation in the activities and their conviction in it always remains complex. I think the final sequence is the film's major flaw – as it seems to me that Karen finds an inner grace as she seeks to break the shackles of middle-class society. This seems too pat, too handy a resolution which denies all of the complexity of her situation. Regardless of this, this is a very bold and very worthwhile film which has so much to offer.