Something of an inside exercise to those familiar with Von Trier and the Dogme Vows of Chastity, on reflection and re-viewing, The Five Obstructions appears more of a conversation with an old friend, an attempt to jigger a mentor out of lethargic retreat, exile imposed by feelings of age and irrelevance. What appears as harsh egotism is actually the opposite. In discussions of the Bombay scene, for example, during the assignment portion, Von Trier could have easily seized on Leth's desire to go only to places "with a hotel" by insisting that he film where lodgings were primitive. But he let the moment pass without comment. Afterward, he expressed his displeasure by saying, "I must listen to my own opinion," which sounds like narcissism, but in the context of the discussion is more of an apology. He listens to Leth at length without comment or interruption and doesn't send Leth back to Bombay. During Von Trier's segment, he makes the point that the "attacker" is often more exposed than the "victim," and in this humbles himself. He shows Leth falling to a hotel room floor like "a perfect man" -- Von Trier's way of coming back playfully to his teacher with fame and fortune in his pocket to show the world who taught him a great portion of what he knows.
The 12-frame and cartoon segments are wonderful, the Bombay and free-form segments disappointing, and Von Trier's final disposition quite touching and revealing. This is not a work of genius or a masterpiece, nor is it a shallow and sadistic ego trip. It is a fascinating and exquisite little exercise in six parts -- five "obstructions" and one extended, honest, personal and aesthetic dialog between two highly-skilled filmmakers who are close friends. We are privileged to witness them interact in an artificially-structured fashion, and it's great fun.
The 12-frame and cartoon segments are wonderful, the Bombay and free-form segments disappointing, and Von Trier's final disposition quite touching and revealing. This is not a work of genius or a masterpiece, nor is it a shallow and sadistic ego trip. It is a fascinating and exquisite little exercise in six parts -- five "obstructions" and one extended, honest, personal and aesthetic dialog between two highly-skilled filmmakers who are close friends. We are privileged to witness them interact in an artificially-structured fashion, and it's great fun.