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Danish director Lars von Trier's BREAKING THE WAVES is a sweeping romantic fable that is photographed like a low-budget documentary, resulting in a strikingly original motion picture from one of contemporary cinema's most distinct visionaries. Bess McNeill (Emily Watson) is a shy young woman living in a small Scottish shore town dominated by a strict religious sect. When she meets Jan (Stellan Skarsgaard), an offshore rig worker, the two immediately fall in love. Jan embraces Bess's absolute innocence and, soon after, they are married. Their magical existence comes to a crashing halt when Jan is forced to return to sea for an extended period of time. In a series of intense dialogues with God, Bess begs for Jan's return back to shore immediately, and when Jan is paralyzed in a freak accident, her wish is granted. Convinced that her prayers caused Jan's tragedy, Bess devotes her life to redeeming herself however she can. Jan insists that she experience sexual relations with a series of strangers, relating to him her escapades. Obeying his wish, she begins to see that her actions are restoring Jan's health, sparking her into committing one reckless final sacrifice. Watson delivers one of the most stunningly naked screen debuts in screen history, filling BREAKING THE WAVES with an intensity that is tragic, yet somehow hopeful. |
A staggeringly honest performance from newcomer Emily Watson coupled with a wrenching central theme — the meaning of true love — illuminate this extraordinarily moving testament to the human spirit, which marked the English-language debut of Danish director Lars von Trier. Set in a remote Scottish village, and shot in pseudo home-video style to keep the profound events real and exposed, it tells the heartbreaking story of a devoutly religious and simple-minded young woman who sacrifices everything for the man she adores. It's an often uncompromising and uncomfortable saga of faith, hope and charity; keep the hankies close by for the unforgettable climax.
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Halliwell's Film Guide
A remarkable and striking film, though in some ways a dislikeable one. It has a raw, emotional power rarely encountered on film, owing to its soulful and guileless central performance and the restlessly casual, close-up camerawork; but its theme, an appar