All eyes were intensely fixed on Anson's shoulders, making the air feel thick and tense.
"I don't like it."
Straightforward and composed, Anson clearly expressed his thoughts.
"First of all, I don't like this kind of stage-play style of presentation."
"Of course, I understand Lars von Trier isn't actually making a stage play. The film's framing and direction break free from the constraints of a stage. This is a movie. But still, Lars von Trier chose to present it in a theatrical way, which reveals the director's intention."
"A test lab."
"He's presenting this absurd yet brutal, but somehow realistic story in a small village. Is he guiding humanity toward evil? Is he questioning if human nature is inherently wicked? Is he showcasing pure evil?"
"No, none of that."
"By presenting it this way, he's playing God. He sees humans as insignificant. He believes human nature is like this— that good and evil are one and the same. He provokes the audience's sensitivities, taking pleasure in watching their anger and pain. He looks down on them and says—"
"'Look, this is who you are.'"
"The movie talks about arrogance."
"I can't remember the exact line, but it goes something like, 'I forgive others, so I'm arrogant?' 'When people make mistakes, you have to punish them. If you don't, you deny them the chance to realize their errors. Forgiving them means you think your morals are superior to theirs. That's arrogance.'"
"Does that make sense?"
"Of course. Not just in the movie—there are many real-life situations like this."
"But Lars von Trier creates this extreme scenario in a kind of experimental setup on the big screen. It comes off as confrontational, forcibly pushing his views, not only crushing the audience but also immersing himself in his preaching."
"Everything, like a divine revelation, carries its own arrogance."
"But you know what?"
"The most interesting part is the structure of the film. It's like an essay, dissecting the problem, thesis, evidence, and conclusion. You can tell Lars von Trier spent a lot of time working on the script."
"Yet, the camera work doesn't show the same calmness or patience. The camera is constantly shaking. It's not just about composition; it's shaky as if you can sense the creator's uncertainty."
"Maybe, deep down, Lars von Trier isn't fully convinced himself, or he's not confident that he can persuade the audience."
"That's the fundamental difference between the director's arrogance and a divine oracle."
His speech flowed confidently, his voice steady but sharp, hinting at the power of his thought process.
Scarlett couldn't help but glance at Anson again and found herself unable to look away. She quietly observed his face.
She wasn't like others—she had always known Anson was a smart guy. Judging him by his looks would only lead to underestimating him.
Their last encounter in Vancouver had left a deep impression on her, serving as important inspiration for her growth as an actress.
Yet, today, he managed to surprise her again.
Just moments ago, she was worried about dozing off during the movie and being judged for her lack of artistic insight. But now, Anson confidently shared his thoughts, showing grace and depth.
This, Scarlett thought, was true substance.
She hadn't seen Dogville yet. It had just premiered, and tickets were nearly impossible to get without some connections.
However, Anson's words intrigued her. Maybe she should watch the film and see for herself, even though Anson admitted he didn't like it. Who knows? She might like it, or maybe she wouldn't. Only seeing it would tell.
Her thoughts lingered in her mind for a brief moment—
"No, I disagree."
A voice from the crowd snapped Scarlett out of her thoughts, pulling them all into a debate.
"Of course, that's an interesting take, but my view is a little different. I think it's a formalistic experiment. Even Lars von Trier himself couldn't control how the final product would turn out. It's an act of provocation, an attempt. That's the essence of experimentation."
"So the uncertainty you sense in his shots isn't doubt about his ideas but uncertainty about human nature itself."
"Here, we could approach it like Haneke, with cold, restrained shots. But we could also follow von Trier's path, exposing oneself and pulling the audience along to experience it together."
"I believe that true masterpieces can turn uncomfortable, controversial topics into an artistic confrontation and aren't afraid to stir debate."
"That's what makes them iconic."
"As you said, you didn't like it, but it made you think, right? It made you realize the film's parallels with reality."
The voice, youthful and carrying a slight accent—perhaps Germanic—held its ground firmly, challenging Anson's opinion.
And then—the crowd erupted.
One by one, people started to voice their opinions. Some patiently waited their turn, while others, brimming with excitement, couldn't wait to jump in. The conversation ebbed and flowed, with everyone trying to balance the back-and-forth, but no one wanted to be left out.
The entire scene was ablaze with heated debate.
As Karl Rivette finished his long day of work and walked past the Riviera Palace, this was the scene he stumbled upon, leaving him momentarily stunned.
To be honest, Karl was exhausted.
All he wanted now was to return to his hotel, collapse on the couch, and shut his brain off. He didn't want to think about anything, let alone work on his article. Not even dinner sounded appealing; he just wanted to lie down in silence.
Film festivals were draining, leaving him feeling completely emptied.
He caught sight of the crowd near the Riviera Palace but had no desire to stop or investigate further. This was Cannes, after all, where film buffs gathered to passionately debate in every corner at any given moment. It was nothing out of the ordinary.
Three days ago, Karl would have eagerly joined in, listening to his peers' opinions and noting the trending topics in Cannes. After all, this was how word of mouth spread at the festival.
But now, he was just too tired.
Then, something caught his eye.
Standing tall, rising above the crowd.
Even in his weary state, that figure easily drew his attention.
Anson?
Wait, is that really Anson?
He watched Dogville this morning, and now tonight...
Karl glanced up at the Riviera Palace—could it be for Father and Son in the main competition?