Zentropa Review
Danish auteur Lars von Trier has rarely been one to let narrative get in the way of technical razzle-dazzle. The director's Element of Crime was as convoluted as they come, but it featured some of the most menacing cinematography in recent memory. His first breakthrough in the American art-house circuit, Europa (re-titled Zentropa in the U.S. to avoid confusion with Europa,_Europa), similarly unleashed a host of marvelous cinematic tricks. If the film is somewhat pretentious, he's forgiven, since the optical trickery and the black-and-white cinematography are so sensational. It's equal parts surrealism and normalcy, and the look is appropriate to the milieu of post-World War II Germany. Like Jean-Luc Godard's Alphaville or a slowly-paced David_Lynch film, Europa makes a definite impact. Von_Trier was supposedly so upset at his film not winning the Palme D'Or at 1991's Cannes Film Festival, he made vulgar gestures at the jury and called its president Roman_Polanski a "midget." Brendon Hanley, Rovi
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