It should be said that the films of Russ von Trier are "existential". The pen "Fun" Pavilion www.biquge.info tells stories through "extreme circumstances", and uses accidental events such as "death", "catastrophe" and "catastrophe" as the stage of human destiny, so as to observe people's free choice, which is a typical "existential" way of thinking. At present, this trend of thought has long been outdated, and its biggest problem is that "extreme experience" is regarded as "daily experience", and the humanity shown by a person in a special situation is regarded as the whole of human nature. Existentialist literature flourished for a while, but its allegorical writing, with its strong moralistic intentions, quickly became boring. It is undeniable that the work of Lars von Trier has the same flaws, an intellectual tone that is inevitably pretentious. But if Russ von Trier had stopped there, he wouldn't have attracted me, and I wouldn't have been curious about each of his films. In fact, like all first-rate writers, he has a special talent for having amazing insight into the psychology of his characters. I don't even have any doubt that he had a very unfortunate experience. He's had a breakdown, he knows the process, he knows what that means. Actually, I've had that feeling before, stepping on the air, falling like it's endless, and then you really want to grab something and stop yourself from falling. I had those moments of extreme frustration, when I climbed to the top of a building, looked at the ground, and wanted to jump, not to die, but to let the ground hold me up and help me get out of the pain that had been hanging in the air for a long time. This kind of secret psychology is not easy to depict, but Lars von Trier is very successful, and he shows the bottomless abyss in the hearts of the heroines by depicting them reaching out and holding something tightly. In "The Idiot", the depiction of the bereaved mother is the most accurate, and when I watched it at the time, I immediately remembered a past event. When I was working in a state-owned enterprise, I had a middle-aged colleague in the office next door, who was usually silent and didn't have much contact. Suddenly, one day he came to my office and talked to me about the gossip of other colleagues in the company. I couldn't get into this kind of topic at all, but he was very excited and kept talking about it alone. Many of the words were said in such a way that they were so vicious that they wanted people to put their fists in his mouth. Just as I was thinking about how to find a reason to retreat, he suddenly paused and said, "Oh, oh, oh, oh, tomorrow I'll go back to my hometown, and my mother is dead." Then he went away peacefully. I vividly remember his expression, just like the mother in "The Idiot", with a weak smile on the corner of his mouth forever, a little flattering, a little treacherous.

Unfortunately is the evil neighbor - this is always the impression that has always been left in the films of Russ von Trier. This is not an easy point of view to digest. In the tragic stories of the weak, people always expect the goodness of human nature, kindness and comfort, but Las von Trier is unwilling to satisfy them and insists on showing them the opposite. Even in "Dancer in the Dark", which was the most popular among the public, Lars von Trier still left his vicious mark on commercial considerations. He was not satisfied with letting the heroine suffer from illness, and let a policeman take advantage of people's danger to deceive her and plunder her. The weak were left unhelped, but instead became pieces of flesh with the smell of blood, attracting hungry wolves. This kind of logic of human nature is inherently evil, and it can be said that it has been brought into full play in "Dog Town". A refugee woman arrives in a "simple" town, where she tries her best to please its inhabitants in order to integrate into the community. But soon the hypocrisy of the townspeople is exposed, everyone tries to squeeze something out of her, women humiliate her, men rape her. Even her self-proclaimed writer boyfriend who "washes people's hearts" was not merciless when he betrayed her. In this seemingly indisputable place, everyone has an amazing ability to do evil, and the appearance of the weak will only be devoured, like a wounded animal thrown into a wolf pack. The heroine's brutality is so brutal that her character, Nicole Kidman, is puzzled, and she questions whether Rasvon Trier is a hate of women, or why he is always keen to portray women who are suffering, showing the audience how ugly they are when they are embarrassed and powerless when they are bullied. Nicole Kidman is very sensitive, she is aware of the pathology in Russ von Trier, but she gets one thing wrong, the heroine of Russ von Trier's film is not a "woman", but himself. Russ von Trier suffers from all sorts of strange phobias and is very afraid of the "impermanence of life", such as not daring to fly. In 1995, his mother died. One can imagine how tormented he was when this unexpected disaster really came, and what he feared most happened. It was this change that gave him the plan for the "Conscience Trilogy". The three women in this film series are all looking for a way to save themselves outside of religion. They did not choose religion, but they paid the piety of the believers, and they also reached a certain state of self-forgetfulness. Maybe it's comfort, maybe it's anesthesia, in short, it has an analgesic effect. The same is true of Lars von Trier, whose religion is cinema, and who even has his own "Ten Commandments" – the famous "Dogma '95". He made movies to save himself. Although "Dogtown" is seen as a political film, it is actually in the same vein, and Russ von Trier is still telling about his inner breakdown, but this time it involves his political convictions. He once explained his political position in this way: He believed in communism when he was young, and now he is still a leftist, but he is not a socialist. This statement is very interesting, he has obviously undergone layers of metamorphosis, and in the past he could only be said to be a specific doctrine, but now he can only be said to be a general faction. If "Dogtown" is about politics, isn't it a major change in political attitudes that the heroine experiences? She is from the Met, the daughter of a wealthy mob boss, but her moral conscience awakens her, and she no longer covets a comfortable life and chooses to flee. But when she came to the world of civilians, her innocence was retaliated against, it turned out that the kind people were not kind, and the cultural people with a conscience had no conscience, these people were like wolves and tigers, greedy and selfish, and they were not the progressive force of society at all. I used to think that they were safe and self-contained, and although they were weak, they had a higher moral standard, but when they entered this group as victims, they became the prey of their scramble to bite. In the end, the heroine awakened again, it turned out that the "weak" were no less ferocious than the gangsters, so when the obedient people became mobs, they should be killed and used evil to fight evil. The end of this film is very decisive, the world is pitch black, and only the killing shines. When a leftist stops preaching "true good" and declares "total evil", he is probably no longer a qualified leftist, because he has completely torn off his pretenses. He had no way out but to oppose everything, and in the end he had to oppose even himself. Or to put it this way, "Dogtown" is a rout of Russ von Trier's political beliefs: it begins with moral perfectionism and ends with moral nihilism. And after nothingness, it loses all meaning and can only fall into the abyss.