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Jean-Marc Barr, Barbara Sukowa, Udo Kier, Erik Mork, Eddie Constantine ... see more see more... , Jorgen Reenberg , Lars von Trier , Max von Sydow , Vera Gebuhr , Ernst-Hugo Järegård , Henning Jensen , Baard Owe , Anne Werner Thomsen , Leif Magnusson , Claus Flygare , Holger Perfort , Else Petersen , Janos Hersko

Europa (retitled Zentropa for the American release) is an hallucinatory Danish film set in postwar Germany. Jean-Marc Barr plays a young German who aspires for a job as a street conductor. But this is... read more read more... no mere "Joe Job;" Barr's adventures on the line are designed as a metaphor for the emergence of the "New Europe" following the war. Barbara Sukowa costars as the daughter of a railroad magnate--and possible Nazi sympathizer. Many of the special-effects sequences are computer enhanced, but even the "live" scenes have an unsettling, surreal quality to them (colors changing abruptly, backgrounds shifting without warning, etc.) This experimental film left some viewers confused, which may be why English-language prints of Zentropa are narrated by Max Von Sydow. ~ Hal Erickson, Rovi

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87% liked it

5,628 ratings

Critics

85% liked it

13 critics

R, 1 hr. 52 min.

Directed by: Lars von Trier

Release Date: January 1, 2001

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DVD Release Date: April 8, 2003

Stats: 365 reviews

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Ernst-Hugo Järegård
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Flixster Reviews (365)

  • rubystevens
    May 21, 2011
    rubystevens
    i am not the biggest fan of von trier but with the recent controversy at cannes i thought i'd give one of his older films a watch. this is just stunning. shot in an ironic film noir style with many interesting effects, it explores the plight of post-war europe through the adven... read moretures of a hapless american train conductor. i found the voice over a little overbearing at times (sorry, max von sydow) but then i read it was added later for english language prints. among many beautifully shot scenes, the one of snow falling in the cathedral took my breath away...
  • ceWEBrity
    November 3, 2010
    ceWEBrity
    A delightfully messy, misanthropic throwback to glossy 40s international melodrama. Think Casablanca with a mean streak. His triptych of a discontinuous, failed Europe ends here, in a far more accessible way than the visions seen in The Element of Crime or Epidemic - it's only up... read moreon careful scrutiny that the film reveals itself as truly bizarre. Time and space seem completely immaterial, as trains move backward and events rewind in surprisingly subtle ways. Lars von Trier puts forth unusual insinuations, that Europe and Germany are dream spaces where nothing seems to make sense, a widespread extrapolation of the mere mechanical failure that plagues the continent in The Element of Crime. Here, EVERYTHING has failed, not the least of which is Leopold Kessler, a starry-eyed idealist thoroughly shit upon at every turn. Meant to be a commentary on the gendered notions of idealism, and the man's attempt to seize power and subsequent failure, it's sort of difficult to watch. Jean-Marc Barr's performance is a little ridiculous, but you sort of get the feeling that von Trier wants it to be. Europa seems serious, but it's too glib to be taken completely at face value. You always get the idea that it's got something more to say than what's sitting at the surface/narrative level, and that justifies its idiosyncrasies.

    Even divorced of critical or auteurial theory, this is a fun watch, probably the most accessible of von Trier's movies. Highly original, visually captivating and finely observed, Europa will probably alienate viewers who are observant but not creative; everyone else should enjoy themselves thoroughly.
  • SirPant
    May 10, 2010
    SirPant
    Probably Triers most accessible film and probably his most epic. Visually moving, the mixing B/W and colour noir style shots at key moments but with perfect subtlety is masterful. The cast is also superb, it's absolutely faultless and a perfect end to the E trilogy. It's a real s... read morehame the American trilogy didn't quite happen!
  • arashxak
    November 8, 2008
    arashxak
    Fascinating, Nicely stylish with a top-notch voice-over by Max von Sydow
  • ryguy4738
    August 2, 2011
    ryguy4738
    8.7/10

    "Europa", originally called "Zentropa", is Lars Von Trier's concluding film in his Europa Trilogy. The first film was "The Element of Crime", which I saw and loved; and the middle child was "Epidemic", which I haven't bothered seeing. Y... read moreet.

    I'm a proud supporter of Lars Von Trier, and I will see any film that he chooses to make or be involved in. This is because I have faith in a man as smart as himself; and he always delivers something new. He has come a long way, from making grade-C pornography to stuff like this. I imagine that he still likes the side of him that can produce pornography; but I'm glad he's moved on and made movies as good as "The Element of Crime" or even this.

    "Europa" is an experience, much like Von Trier's debut film. It premiered at the Cannes Film Festival, where it lost the Palme d'Or, causing Von Trier to angrily flick off the judges. I imagine he would have done the same thing if it had won the award. Von Trier invites and even enjoys criticism, and he's made a name for himself even outside of his outlandish, surreal, sometimes explicit films. But I like him anyways, and he will always be influential to whatever work I carry out, through film, in the near future.

    I'm getting off task. The story is what I should be talking about by now, isn't it? I guess, but you won't always get what you expect, and if you expect anything out of "Europa" when you decide to watch it, then my friend, you're doomed.

    Leo (Jean-Marc Barr), and American, moves to Germany to find work and show the Germans that not all Americans are sneaky, sleazy liars. He then begins work as a sleeping-car-conductor for the Zentropa railway. It is there that he meets the lovely young woman, Kat (Barbara Sukowa), who seduces and manipulates him.

    And manipulation itself plays a large role in the film's central plot. Leo is soon accidentally drawn into a terrorist conspiracy of some sort. The enemy has planted a bomb in one of the trains that goes through Leo's railway. He has been tricked. And now, he must stop what he unknowingly started.

    I guess I admire and appreciate the story that is told here. It is existent, but its own confusion may be why it didn't earn Von Trier that Palme d'Or for its year at Cannes. As with EVERY SINGLE OTHER Lars Von Trier film, it's not for everyone. It requires a certain audience. It thrills and fascinates with the look of each shot; and it is lovingly crafted. Some might find it just "good". Some might find it just "meh". And some might even hate it. However, I know that I'm not alone when I say that it's a fascinating work of art. Von Trier has never been pretentious or overly-indulgent to me and he never will be. He's not pretending to be an artist; he is one.

    The film is stylized skillfully to feel like a more modern noir film, and it definitely works miraculously. I am a believer that black-and-white will always be king, and I guess...so does Lars Von Trier. His film is indeed accompanied by mostly black-and-white visuals, with occasional colors showing up to give the film its surrealism. But then again, we know Von Trier well; and we understand that he also sets up his shots carefully so that he can make them count. He understands all too well that people will see "Europa" for the sake of its mere existence, but there's really no other reason other than that to pursue it. I can't say I recommend it, at least not to everyone, but if you are like me, and you see Von Trier as a filmmaker that deserves attention for his efforts, then it's most-definitely a must-see movie.
  • fb1266827685
    January 10, 2011
    fb1266827685
    A very different film for Lars von Trier, particularly compared to his later films like "Breaking The Waves" and "Dancer In The Dark". Everything had to be scripted to perfection (which differs greatly from the loose improv based style that he's used since the mid-'90s) to allow... read more for the superimposing of the background into every scene. The actors were filmed on a soundstage and then superimposed over pre-filmed backgrounds (and it was done so well, that I was unaware of this until I watched the making-of features).
    The story is very thought-provoking and entertaining as it deals with a man who travels to post-war Germany (through a hypnosis/time-travel format that is never fully revealed) with the intent of gaining employment and eventually helping the people of Germany. While there, he finds himself surrounded by former Nazis in hiding, and he is caught between the desires of the Nazi hunters and those being hunted. Everything feels very authentic to the time, and the visuals are stunning.
    There is a very interesting conversation concerning if God forgives those involved in the act of war, and the answer seems so true: Those who take a side will be protected from his wrath, but those who are lukewarm will be punished.
    "So, because you are lukewarm, and neither hot nor cold, I will spit you out of my mouth." Revelation 3:16
    This is not your standard film, as all of Lars von Trier's films seem to have nothing standard about them, but Europa is a must-see and an easy introduction to the twisted mind of director Lars von Trier.
  • fb208103125
    December 17, 2011
    fb208103125
    Europa, is a solid and moody neo-noir film in which Lars von Trier utilizes several different and unique techniques in order to portray his postwar Germany and the events in an atmospheric and dark sense. I really enjoyed and appreciated the use of both color as well as B&W and ... read morethe many other techniques used, but at times it felt exhaustive in a sense. The story while dark is also boldly portrayed and is ultimately a case in which we see how hard a personal can be pushed before they lose sense and purpose of themselves. While not for everyone, anyone who appreciates form and technique in film will be dazzled at what they see and more importantly, express.
  • fb20312798
    June 5, 2010
    fb20312798
    Its a great blend of striking visuals and interesting ideas. Its rare that the two meld so nicely. It might be the most appealing of von Trier's films, its weird but not insane.
  • robfearon
    April 14, 2010
    robfearon
    Not much more than an ostentatious display of highly stylised visual tricks.
  • Dracula787
    June 26, 2009
    Dracula787
    When I decided to check out some Lars Von Trier movies, this was the one I was most looking forward to. I?d seen some beautiful clips from this movie in the past and this promised to finally be the movie that showed me why Lars Von Trier has such a great reputation. Unfortunate... read morely, this wasn?t to be. Don?t get me wrong, there really is a lot to like in Europa but its charms are entirely aesthetic. The film has a gorgeous mix of black and white footage with color elements, I don?t know if this was the first movie to do something like that (it predates Schindler?s List by two years), but it does it very well. Unfortunately this is done in service of a boring story about some sort of fantastical post-war Germany divorced of any historical accuracy. Worse, the main character is (deliberately) annoying to the point where you?d rather strangle him than watch a movie about him. I do not know what Von Trier was trying to say with this film, and I wouldn?t mind if I thought it was an enjoyable watch? which it isn?t. I also found a lot of the acting strange, it seemed like he was dubbing over various actors Leone style, and that was an annoying distraction. Truth be told, this is the best Von Trier movie I?ve seen, but that?s not saying mutch. I haven?t checked out his Dogma work yet, so maybe that?s where I?m going to have to go in order to understand all the fuss over this guy.

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Critic Reviews

Emanuel Levy
April 6, 2011
Emanuel Levy, EmanuelLevy.Com

An intriguing, visually stunning black-and-white neo noir, set in postWWII Europe. Full Review

Jay Antani
August 17, 2010
Jay Antani, Cinema Writer

Beautiful, brilliant, hallucinatory filmmaking Full Review

Christopher Long
July 29, 2009
Christopher Long, Movie Metropolis

The highly stylized film keeps viewers at an emotional distance, but it establishes a consistent mood and a rhythm as steady as the click-clack of a train rolling along the track. Full Review

Bill Weber
December 12, 2008
Bill Weber, Slant Magazine

The German moral tragedy of the Nazi era is obscured by the movie's ostentatious arsenal of tricks and toys. Full Review

Frederic and Mary Ann Brussat
July 19, 2003
Frederic and Mary Ann Brussat, Spirituality and Practice

An ambitious avant garde film directed by Lars von Trier Full Review

Rob Thomas
October 17, 2002
Rob Thomas, Capital Times (Madison, WI)

Surreal and confusing -- in all the right ways.

Stephen Holden
May 20, 2003
Stephen Holden, New York Times

Click to read the article Full Review

Joe Brown
January 1, 2000
Joe Brown, Washington Post

Click to read the article Full Review

Roger Ebert
January 1, 2000
Roger Ebert, Chicago Sun-Times

Click to read the article Full Review

Hal Hinson
January 1, 2000
Hal Hinson, Washington Post

Click to read the article Full Review

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    • Narrator: In the morning, the sleeper has found rest on the bottom of the river. The force of the stream has opened the door and is leading you on. Above your body, people are still alive. Follow the river as days go by. Head for the ocean that mirrors the sky. You want to wake up to free yourself of the image of Europa. But it is not possible.
    • Narrator: You will now listen to my voice. My voice will help you and guide you still deeper into Europa. Every time you hear my voice, with every word and every number, you will enter into a still deeper layer, open, relaxed and receptive. I shall now count from one to ten. On the count of ten, you will be in Europa. I say: one. And as your focus and attention are entirely on my voice, you will slowly begin to relax. Two, your hands and your fingers are getting warmer and heavier. Three, the warmth is spreading through your arms, to your shoulders and your neck. Four, your feet and your legs get heavier. Five, the warmth is spreading to the whole of your body. On six, I want you to go deeper. I say: six. And the whole of your relaxed body is slowly beginning to sink. Seven, you go deeper and deeper and deeper. Eight, on every breath you take, you go deeper. Nine, you are floating. On the mental count of ten, you will be in Europa. Be there at ten. I say: ten.
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