Europa (1991)

Europa is the third and final film in Lars von Trier’s Europa trilogy. Following 1984’s The Element of Crime and 1987’s Epidemic, the Danish director continued to explore the themes of manipulation and the moral decay in modern Europe. But while his previous two films were very much “art-house” pictures, Europa takes a more mainstream approach (albeit in an unconventional way).

Set in post WWII Germany, the story follows an American named Leopold (Jean-Marc Barr) who goes to work with his uncle as a railway conductor. While the war may officially be over, he soon discovers that terrorism and violence still have a hold on the country. Plaguing the American troops that still control much of Germany are the Werewolves, a secret group of German terrorists. Unfortunately for Leopold, the woman he falls in love with (Barbara Sukowa) happens to be a Werewolf herself. Soon Leopold finds himself in the middle of the struggle between American troops and Werewolves.

One of the main themes in Europa, as well as in the rest of the Europa trilogy, is the idea of intentions gone awry. Leopold goes to Germany with the intention of starting a quiet life as a railway conductor, only to be dragged into a war. Even when he falls in love and marries Katharina, he is only getting deeper into the battle.

Another main theme in the trilogy, and especially in Europa, is manipulation. Leopold is manipulated throughout the entire film, from the Americans, to the Werewolves, to his wife Katharina. Even we the audience are not immune to manipulation. Throughout the film we are subject to the narrator (the great Max von Sydow) hypnotizing us, as if the entire movie was trying to put one over on us.

Europa is one of those films that will stick with you long after the credits have rolled. The visuals alone make it hard to forget, and coupled with the powerful voice of von Sydow, it’s easy to see why this movie still resonates with people. Lately, Lars von Trier has been known more for his provocation, but Europa shows us that he is more than a cinema “bad boy”.