Dogville, un poble qualsevol

informació obra

Pau Miró
Sílvia Munt
Max Glaenzel, Jordi Bulbena
Pau Miró
Mercè Paloma
Ignasi Ruiz
David Bofarull (a.a.i.), Daniel Gener
Damien Bazin
Daniel Lacasa
Ajudantia de direcció:
Tilda Espluga, Daniela Feixas
Andreu Benito, Joel Bramona/Jaume Solà, Bruna Cusí, Anna Güell, Andrés Herrera, Josep Julien, Lluís Marco, Áurea Márquez, Albert Pérez , Alba Ribas, David Verdaguer

Pau Miró i Sílvia Munt signen aquesta versió de la famosa pel·lícula de Lars Von Trier, estrenada el 2003 i primera part de la trilogia USA: Land Of Opportunity. Si vols que els altres t’acceptin, t’has de sotmetre a l’abús i expiar el seu ressentiment. Però llavors, què separa la bondat de la maldat? Dirigida per Sílvia Munt.

Crítica: Dogville, un poble qualsevol


A bad day for humanity

per Alx Phillips

There is little subtlety in this well intentioned but unconvincing staging of Lars von Trier's 2003 film Dogville. Turning the tables on the original, an experiment in mixing theatre with cinema, this production appears like a mid-week TV movie; a bar-cum-civic centre-cum library, with a large screen at the back for when the action shifts elsewhere, attempt to offer interest where the narrative fails.

The story is as von Trier does: grim, melodramatic and not very flattering to the human race. An innocent inevitably-young, inevitably-female thing appears in town needing help. The villagers are suspicious but then warm to her as she proves herself useful. Yet her gratitude becomes servitude, and after one horrible encounter with a middle-aged machista (one of many) she becomes (in the absence of animal rights activists) the town 'dog'.

The original film relies very heavily on an excellent cast who take full advantage of its three hours to show the subtle shift into 'evil' – or willing obliviousness – of the inhabitants, while an omniscient narrator plays on the audience's complicity. This 90-minute production attempts to engage us by transporting the drama from Depression era America to rural Catalonia. But the actors - even Andreu Benito - struggle to make sense of von Trier's simplistic horror story of abuse, without the time and the repeated takes that filming would allow.