6.4 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
A film director and a screenwriter prepare to produce a horror film with help from a government grant. Their story involves a youthful physician who is unaware he has a deadly virus in his medical bag.
Starring: Allan De Waal, Ole Ernst, Michael Gelting, Colin Gilder, Svend Ali HamannForeign | 100% |
Drama | 95% |
Horror | 22% |
Sci-Fi | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.66:1
Original aspect ratio: 1.66:1
Danish: LPCM 1.0 Mono
English, English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 3.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 4.0 | |
Overall | 3.0 |
Note: This film is available on Blu-ray as part of Lars von Trier's Europe Trilogy from The Criterion Collection.
If one is to believe the frequently questionable information offered by Wikipedia, there are well over one hundred films that have something
to do with hypnosis, including probably unsurprising entries ranging from Svengali
to The Three Faces of Eve to The Manchurian Candidate, but also
(somewhat hilariously, at least to me) perhaps slightly less expected offerings like Scooby-Doo and the Ghoul School. Kind of interestingly in that regard and vis a vis the rather broad gamut
of
films that feature some kind of depiction of the technique, hypnosis can be portrayed as either the tool of
someone nefarious (Dr. Mabuse: The Gambler
)
or alternatively as a long sought after cure for some kind of mental dysfunction (Spellbound). Wikipedia's list of films about
hypnosis kind of strangely only includes the first of Lars von Trier's so-called Europe Trilogy, namely The Element of Crime,
but hypnosis is at least alluded to in all three films, and all three arguably offer a "middle ground" in terms of depicting hypnotism as both a cure
and a potential threat. If hypnotism itself might be thought of as getting subjects into a kind of "limbo" state somewhere between
wakefulness
and sleeping, von Trier's trilogy is also a dreamscape (or nightmare-scape, as the case may be) where reality and illusion are often seemingly
interchangeable.
Criterion's insert booklet lumps the three films together in its relatively minimal descriptions of the restorations, as follows:
The Element of Crime is presented in its original aspect ratio of 1.89:1 [note: our aspect ratio measuring tool is actually showing 1.90:1, a probably imperceptible difference]. This digital transfer was created in 3K resolution on an Arriscan film scanner from the 16 mm original camera negative. Epidemic is presented in its original aspect ratio of 1.66:1. This digital transfer was created on an Arriscan film scanner and restored in 3K resolution from the 16 mm original camera negative. Europa is presented in its original aspect ratio of 2.39:1. This digital transfer was created on an Arriscan film scanner and restored in 4K resolution from the 35 mm original camera negative. The restorations of all three films were undertaken by Zentropa and approved by director Lars von Trier.Epidemic is often quite striking visually, though I'm sure I won't be alone in finding von Trier's almost deliberately off putting use of the quasi- bug in the upper left corner of the frame a needless conceit that doesn't add much to the proceedings and may actually distract from some of the visual dazzlement in the long run. That qualm aside, and despite a smaller format and some high contrast choices, detail levels are often surprisingly precise looking, at least when some of the odder framings and near psychedelic mise en scènes "relax" a bit. This is by far the grainiest looking feature in the trilogy, though it's interesting to note the IMDb lists some 35 mm usage, and there are certainly some isolated moments here where clarity improves pretty markedly and grain becomes much tighter looking.
Epidemic features LPCM Mono sound in Danish and English. The film ping pongs between a kind of vérité quality in the "meta" scenes between von Trier and Vørsel, and a more "Hollywoodized" sound in the film within a film, which features English and a rather nice score by Peter Bach. All dialogue is rendered cleanly and clearly, though some of the English is rather heavily accented. Optional English subtitles are available.
In perhaps an unintentionally ironic way, this second feature from von Trier may strike some as seeming more like a "student film" than The Element of Crime. There's a lot of interesting content here, make no mistake, but it's frankly kind of unkempt and has more than a slight whiff of self indulgence. Technical merits are generally solid and the supplements very enjoyable.
(Still not reliable for this title)
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Forbrydelsens element
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