Dogville (Von Trier, 2003)

Dogville (Lars von Trier, 2003) is a most unusual film stylistically speaking. The entire film is shot apparently in one room, with all four walls digitally-composited black or white depending on the time of day. There are no real buildings, and few props. Minus the few cars this film is minimalist even for a play. All walls in the cinematic world are imaginary, but are drawn on the ground. The audience cannot help but think of Bertolt Brecht, in the detached, self-reflective approach the audience is forced to take to the film.

The cinematography is almost as unconventional as the set design. Although there is a credited cinematographer, Lars von Trier himself gets the camera operator credit. This seems very strange and I wonder what that all means. In any case, the hand-held camera, smash zooms, and what I would call 'focus hunting' all bring a great deal of emphasis to the fact that you are watching a film.

Sound plays an interestingly meta-filmic role in this film as well. Although there are very few real set pieces and props, as in traditional cinema, there is a full foley team creating all of the sounds of a more traditional film. The particular sound that catches my ear is the sound of the doors. It is obvious that the sound is recorded from something much more solid than the floating doors on the set of Dogville.

Yet another unconventional aspect of this film is its duration. Dogville runs nearly a full three hours. If nothing else, this will remind the audience that they are watching a movie. Sitting for three hours is quite a long time, and most viewers are going to notice that they have been watching this movie for that long. The duration, however works quite well with the tone and the pace of the story. Unlike many other films that are far too long for their own good, Dogville rightfully reaches the 178th minute.

The unconventional style of Dogville certainly forces the audience to think. There is definitely a statement about society, and human nature. I am very unclear however, that even von Trier knows which side the film takes.