Europa

Triers Faszination für die Oberfläche mag sich hier gar bis zum ungesunden Maße manifestieren, dennoch hat mich die Verarbeitung der absichtlich klischeehaften und archaischen Romantikgeschichte vollends gepackt - Trier nutzt eine tiefergehende Filmregression ins Nachkriegsdeutschland in allererster Linie als desillusionierende Metapher des Verfalls humanitätsinspirierter Ideen, mitsamt ihres unentwegten Missbrauchs und Übertreibung. Schmutzige, rostige und verkommene Landschaften (oft sogar theatralisch übertrieben und absichtlich so gestylt,damit sie ihre Illusivität offenbaren) beherbergen die trierös distanzierten, und dennoch außerordentlich intensiven Charaktere. Ihre verwirrten Bemühungen bedecken hier eine faszinierende Leinwand, auf der man immer wieder auf die erdrückende Kraft der Geschichte trifft, die wie ein Zug auf den Gleisen dem nächsten Nullpunkt zurast. Europa ist ein hypnotischer Film - er hat mich eindeutig mehr dank der Stilisierung als der gedanklichen Tiefe begeistert. Dies beeinträchtigt jedoch ihre grässliche Schönheit in keinster Weise. (04.01.2010)

Lars von Trier is simply a great filmmaker. There can be little doubt about that. He has great ideas, which are also evident in the film "Europe". His post-war approach to Germany is immensely interesting and original. The narrator's voice, if we can even call it that, is great as it clearly determines how the story will unfold. The countdown is simply brilliant. However, the film was unable to captivate me enough to say that it is a great work overall. (20.12.2014)

The viewer's experience is somewhat spoiled by the fact that this is the imaginary climax of a trilogy whose first two parts were not released in the Czech Republic. I’m therefore reviewing this separately from them. Given the subject matter, I often thought of Holland's Europa Europa, during the screening, which is quite logical. Von Trier's formal exhibitionism here brings the combination of black and white and color film into the gears of the plot, the claustrophobic setting of the train compartments, so symbolic of the Holocaust, as if the schizophrenia of the first months after April 1945, viewed through the lens of a slightly naive American, were not enough. A challenging emotional film with a slightly surprising denouement. (05.06.2017)

Instead of an explicit look at the war as such, Lars von Trier has opted for a more social/psychological film, in which he captures the hopelessness of the post-war situation in Germany very well. While the main story is undoubtedly suspenseful and even gripping in some moments, it is also interesting to see how the war and its consequences are seen by supporting characters (especially in the area of interpersonal relationships). It's certainly not Lars' best work, but the excellent visuals, some of the stronger moments, and the immersive effect in the narrative interludes give it an indelible place in Trier's filmography. (16.01.2011)