Idioterne is not a comedy. It is not a drama. It is a question mark carved into your amygdala. The final verdict of the film is ambiguous. The idiots fail. The “normal” world remains intact. But von Trier leaves you with a terrifying possibility: that for one brief, shining moment, throwing a fork and shouting gibberish is the most sane thing a human being can do.
and its "Vow of Chastity," which aimed to strip cinema of its artificiality. Key rules included: Karl Ove Knausgaard on Lars Von Trier's The Idiots Idiots Idioterne Lars Von Trier
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The film’s aesthetic is crucial. Shot on grainy, handheld digital video (a revolutionary choice in 1998), Idioterne looks like a home movie. The camera, wielded by von Trier’s regular cinematographer Lars Jönsson, is jittery, intrusive, and often out of focus. There are no establishing shots, no musical score (save for a single, searingly ironic use of a Mozart clarinet concerto during a sex scene), and no artificial lighting. This is Dogme purity at its most aggressive. The final verdict of the film is ambiguous