Film Spotlight: Europa
Friday, February 20, 2009, 09:45 k
Filed under: Consume This, Film | Tags: , ,


The film pick of the week is the Criterion Collection‘s version of Lars Von Trier‘s Europa. In the U.S., it was released under the name Zentopa and is regarded as one of Von Triers’ crowning achievments. The film is shot in black and white and features color imagery that is highly stylized.  The story deals with an American pacifist who works as a sleep car conductor on Zentropa railways in Frankfurt in 1945. The film was not made with any digital effects, and all important elements of the film are shot in color (Steven Spielberg later used this style for Schindlers List), and it’s the final installment in Von Trier’s Europe trilogy. The Criterion Collection is loaded with tons of great features.

See the trailer below and a list of the features after the cut.


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New, restored high-definition digital transfer
Audio commentary featuring director Lars von Trier and producer Peter Aalbæk Jensen (in Danish)
The Making of Europa (1991), a documentary following the film from storyboarding to production
Trier s Element (1991), a documentary featuring an interview with von Trier, and footage from the set and Europa s Cannes premiere and press conference
Anecdotes from Europa (2005), a short documentary featuring interviews with film historian Peter Schepelern, actor Jean-Marc Barr, producer Peter Aalbæk Jensen, assistant director Tómas Gislason, co-writer Niels Vørsel, and prop master Peter Grant
2005 interviews with cinematographer Henning Bendtsen, composer Joachim Holbek, costume designer Manon Rasmussen, film-school teacher Mogens Rukov, editor/director Tómas Gislason, producer Peter Aalbæk Jensen, art director Peter Grant, actor Michael Simpson, production manager Per Arman, actor Ole Ernst
A conversation with Lars von Trier from 2005, in which the director speaks about the Europa trilogy
Europa The Faecal Location (2005), a short film by Gislason
New and improved English subtitle translation
PLUS: A booklet featuring a new essay by critic Howard Hampton


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