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Lars von Trier, The Element of Crime (1984) [1], [2], [3]
В википедии поразительно толковая статья!!! Мне прямо завидно, хотел бы так по существу писать:
В википедии поразительно толковая статья!!! Мне прямо завидно, хотел бы так по существу писать:
The film employs the film noir conventions of monochrome footage, apparently constant night, and the ubiquitous presence of water. The film is shot almost entirely in sodium light resulting in images reminiscent of sepia tone, though with a more intense yellow. Sodium lamps produce light in a few narrow emission peaks, which causes the almost monochrome appearance of the film. The sepia is occasionally contrasted with piercing blues or greens.
The world depicted in the film is semi-derelict. Disordered collections of similar or identical object are found in many of the scenes, reinforcing the sense of a crumbling society. Examples include heaps of keys, surgical scissors, glass bottles, rubber stamps and Coca-Cola cans.
The film's slow pace, dark visuals occasional surreal imagery give it a dreamlike quality. In addition, much of the dialogue is contradictory. An example is one conversation between Fisher and his mentor's housekeeper:
Fisher: Is it always as dark as this at this time of year?
Housekeeper: There are no seasons any more. The last three summers haven't been summers. The weather changes all the time. It never alters.
In the opening of the film, a shot of a horse lying on its back and then slowly struggling to stand may be an homage to a similar shot in Andrei Tarkovsky's Andrei Rublev (1968). Von Trier has stated that he is an admirer of Tarkovsky's work.
