Europa (AKA Zentropa)
Dir: Lars von Trier
1991
*****
Europa (known in North America as Zentropa so it wouldn't be confused with the German film Europa Europa released the year before) is, despite being a surreal and hallucinatory melodrama, probably Lars von Trier's most accessible film in my humble opinion (although I'm sure others will disagree). Visually moving, the mixing and multi-layering of rare black and white footage alongside colour noir style shots, at key moments and with perfect subtlety, is masterful. The cast is also superb, it's absolutely faultless and a perfect end to the Europe-trilogy (following The Element of Crime and Epidemic). Lars von Trier is now famous for making his films in trilogies, although this wasn't an idea initially, it seems to have stuck and it works. For me, his Europe-trilogy is the work of a young director stretching his legs and exercising what he's learnt and what he knows. It's a fascinating look at Europe's past and its future, referencing everything about it that has influenced Von trier (new wave cinema, deconstructivism) but it is still in the realms of film school thinking. Thanks to the trilogy of films he has developed his own unique style, his own work ethic and has learnt integrity. It represents the birth of a great director, and although I prefer his other Trilogies, this is his most important body of work.

Epidemic
Dir: Lars von Trier
1987
****
1987's Epidemic (the second installment in the Europe-trilogy following The Element of Crime and preceding Europa) represents the birth, or at least the conception, of the Dogme movement. Lars von Trier had proved he could do stylish and beautiful films on a modest budget, it was only when he took this film on as a bet (to prove he could make a film on a very small budget) did his truly experimental style surface. It works, it feels real, is original and it did indeed stick to its small budget and almost adheres to the Dogme manifesto (that includes the main rules that; shooting must be done on location, the sound must be recorded at the same time as shooting with no musical soundtrack, the camera must be hand-held, no special effects, no superficial action action allowed). It also bought out the Von Trier as we know him, challenging to the last, almost to the point of pure exhaustion. 'A film should be like a pebble in a shoe' and this is one sharp pebble, the final screams are almost unbearable. It is brilliant but it is only a peek at the greatness to come.

The Element of Crime
Dir: Lars von Trier
1984
*****
1984's The Element of Crime is an astonishing feature debut from Lars Von Trier. There are a few obvious influences here (Andrei Arsenyevich, Bernardo Bertolucci) but nothing compered to the amount of films and directors who have obviously been influenced by it or indeed him since. Not that I think anyone comes close, he is a real one off and an often misunderstood genius. I believe The Element of Crime truly changed the future of cinema (you may not have seen it but film directors certainly have) and was way ahead of it's time (Jeunet's Delicatessen came out seven years later). It stars Michael Elphick, which is a bit of an unexpected bit of casting, and it is probably his best ever performance. The orange haze covering the bleak, dystopian future Europe is nothing short of beautiful. A true masterpiece from the saviour of European cinema and the beginning of both the Europe-trilogy (followed by Epidemic and Europa) and a colourful and controversial career.