Amoeba Music

What will the Europe of the future look like? In the opinion of the great Dane Lars von Trier Europe will be polluted, plagued, and riddled with an existential numbness preventing connection of any kind between its inhabitants. Life for Europeans will vacillate between madness and extremism and boredom and anonymity. Von Trier’s prognostications are manifested in his Europa trilogy: The Element of Crime (1984) set in the future, Epidemic (1987) set in the present, and Europa (1991) set in the fall of 1945 after the German surrender to the Allied forces. In Europa, von Trier extrapolates his fears for the future of Europe from its past, finding parallels in the alienation and chaos of post-war Germany replicated in the angst of modern Europe. After the fall of the Berlin Wall in 1989, Western Europe was facing the same problem of the Allies after WWII:  now that you’ve won, how do you turn the enemy you vilified into a trustworthy ally?

Von Trier describes the theme of the Europa trilogy as “the story of an idealist who tries to save people, but it all goes wrong.” Element of Crime features a cop intent on proving the viability of the controversial, psychologically debilitating crime-solving techniques of his mentor; in Epidemic a director (played by von Trier) wants to bring to life the story of a doctor (also played by von Trier) intent on stopping a deadly plague who ultimately turns out to be the carrier of the disease. Europa is less conceptual and is in fact the most conventional of any of von Trier’s films. Leopold Kessler (Jean-Marc Barr) is an American of German descent who travels to Germany just after the war’s end with the vague goal of showing kindness to humanity. Kessler soon gets a job as a sleeping car conductor with the help of his fellow conductor uncle, so apparently showing kindness includes taking a job that could have been filled by a starving German. Kessler is soon invited to dinner at the house of Herr Hartman, the former Nazi collaborator who owns the Zentropa rail company where Kessler is employed. Kessler soon falls for Hartmann’s daughter, Katie (Barbara Sukowa), a sexpot who isn’t hesitant to admit that she was also once a collaborator. Kessler’s desire to save Katie from her past pulls him into a milieu of intrigue and betrayal that pose the ultimate challenge to Kessler’s altruistic weltanschaung. In plot, Europa is a Nazi spy thriller in the vein of Fritz Lang’s Hangmen Also Die and Hitchcock’s Notorious, but because of a strong technical choice, von Trier gives it a new, singularly postmodern collage aesthetic.