
2009
The Europeans always have this innate sense of filmmaking that revolves around the cold, callous and matter-of-fact facet often attached with injustice, violence and the disturbing nature of it. If Lars Von Trier’s Dogville seemed unsettlingly malevolent, The White Ribbon distilled every ounce of realism from the former and hence, it felt even more blood-curdling due to the minimalist aspect of it all. This way one’s focus doesn’t automatically magnetize towards the scenic beauty of the village and rather stays…