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CANNES 2005 Official Competition

Manderlay : Von Trier and slavery

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A sense of deja-vu this morning at the screening in official competition of Manderlay [+see also:
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by the Dane Lars von Trier. Part two of the trilogy devoted to America, the film received a favourable reception from the international press without receiving the ovation that followed the Cannes screening of Dogville [+see also:
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film profile
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in 2003. It’s true that with the same theatrical technique, Manderlay does not benefit from the element of stylistic surprise of the first episode, nor the charismatic presence of Nicole Kidman, replaced admirably by Bryce Dallas Howard but with less depth. Centred on slavery and mixing the themes of democracy, liberty, violence and power, the 8th feature by Lars von Trier manages to seduce in the end without really convincing, despite masterly technique and impeccable direction of the actors.

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At the press conference, the filmmaker reaffirmed his reasons for an apparent doggedness in concentrating on the more sombre aspects of the United States. “America is an interesting subject because we are all under its influence, a particular bad influence at the moment. Without ever having set foot there, I am 60% American and can do nothing about that fact. All my films are sombre and sarcastic and this one follows the same line as the previous films.” Denouncing the politically correct and the fear of independence, the director added that he chose to explore a new theatrical form because it allowed a greater variety of interpretations. However, a single certainty imposes itself: the despairing vision of a filmmaker who shows human beings incapable of assuming freedom and who imprison themselves in a system that does not constrain them.

With a budget of 11,67 million euros, Manderlay required a huge European co-production, driven by the Danish outfit Zentropa Productions and involving notably Maipo Film (Denmark), Memfis Film and Trollhättan Film (Sweden), Ognon Films (France), Isabella Films (Holland), Pain Unlimited (Germany) and Zoma Films (UK). Co-produced with Arte (450 000 euros), the film received 725 000 euros of aid from Eurimages and 255 000 euros from the Media Programme; Trust Film Sales is handling international sales.

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(Translated from French)

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