Dogville is the circadian folktale story about a stranger being accepted and aided by the benevolence of a community except…with a twist: It’s actually realistic. And by the predicaments of realism, it’s only fair to make the assumption that there will be a backbone of darkness to the tale’s across-the-board effects. Lars von Trier’s chronicle of social assimilation and the approach to human limit is one that amplifies and enhances itself from elementary primitiveness to unanticipated immaculateness.
Nicole Kidman portrays a mystifyingly optimistic, proper-mannered woman who after having everything stripped away from her, seeks out present-day redemption through a pocket-sized town called, Dogville—which might I mention, is scouted inventively through a one-of-a-kind, blueprint-esque aesthetic. There she explores the sanguine beauty of an American terrain that only soon, reveals and manifests its true colors through abhorrently naturalistic human tendencies.
But where the dirty subjection of pragmatism lies, another theme flourishes. Dogville’s finale strikes its audience in the bowels with an excruciatingly awakening twist that sheds aggressive amounts of light relating to the sewage-pail of a world we live in. Trier has fabricated a 3-hour masterpiece that exploits the blackened shades of humanity that truly can’t be explained any better than in this exhaustively, precise layout of the common anthropoid civilization. (Verdict: A+)
So who’s bright idea was it again to produce a town that has only one young woman in it surrounded by countless other men? That’s a direct cause for trouble.
If I were Nicole Kidman’s character, the certain m$&@>%f#!=€*s (AKA, “men”) of Dogville would’ve most palpably received a mighty axe to the…
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“Dogville” is now available to rent and buy on Vudu, YouTube, Amazon Prime, Google Play, and iTunes.
Burning the Celluloid 
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