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Screen Slate published 365 days a year as a daily aggregate of NYC alternative screening listings accompanied by a short essay about something showing that day. Although movie theaters have closed, we're still publishing daily with recommendations and critical essays on all forms of online media: features, media art, digital detritus, internet culture, and more.
 
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Stream Slate #61: Dancer in the Dark

 

by Ayanna Dozier

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Dancer in the Dark (2000) is a emotive musical with a reasonably bland narrative. The concluding installment in Lars von Trier’s Golden Heart trilogy, the film — like its predecessors Breaking the Waves (1996) and The Idiots (1998) — focuses on a young, big hearted, naïve woman who is punished for her sincerity (golden heart) by the film’s end. In Dancer in the Dark, this woman is Selma Ježková, played by a magnificent Björk in a performance that won her the Best Actress award at Cannes. Selma is a Czech immigrant factory worker living below the poverty line with her son in a trailer on the property of the local police officer. She has a hereditary degenerative eye condition that will soon render her blind and threatens the sight of her son. Her life is precariously defined by a complex intersection of ableism, wage-labor, immigration, and poverty expressed by her position as factory worker in unsafe conditions. Unfortunately, these aspects are only briefly touched upon and could have been further expanded in the narrative to ground the town’s eventual uprising against Selma. Instead, it feels unexpected and somewhat illogical. But where certain threads of the narrative fall short, the musical sequences greatly make up for it. When the songs appear they relieve the claustrophobic tension of hate onscreen against both Selma and the audience.

Although the direction of the film is attributed to von Trier, we might want to revisit and revise the authorship of this film. Hollywood, and even Hollywood-adjacent pictures like those of the Dogme 95 movement co-founded by von Trier whose aesthetics inform this film have a terrible habit of erasing women’s creative labor onset, especially when they are actresses. For Dancer in the Dark, Björk composed, arranged, wrote, and sang the musical numbers, which heavily dictate the narrative structure of the film. She frequently sparred with von Trier over the direction of her character’s arch and nearly walked off the feature but completed it out of respect for the cast and crew. She was labeled “difficult” by co-stars and the producers. In 2017, Björk accused von Trier of harassment on set — further shedding light on “difficulty” of the production. Revisiting Dancer in the Dark is not taken lightly but rather is an attempt to rethink the conditions of authorship, creative agency, and production that feed into the film’s performance and experience.

Dancer in the Dark is best understood as a fantasy in which the musical numbers serve not as a burst of emotion as they do in the traditional “Hollywood Musical,” but rather as portals that enable Selma to escape her abusive narrative that increasingly resembles a horror film. The mistreatment of women is nothing new on screen, and without any real interrogation of the systems that produce and enact Selma’s mistreatment, the film treads dangerously close to exhalating in Selma’s pain. Björk’s musical numbers and performance intervene in the narrative and carve out a fantastical escape for the audience to join Selma on her journey beyond her world of the film. They save her and they save us. Björk’s performance as Selma is devastating to watch at times, but it instills an emotive experience that gives the audience something to hold on to; she grounds the film even when it is at its most absurd. We believe Selma, and we believe in her.

Ayanna Dozier is a scholar, filmmaker and performance artist. Her dissertation, Mnemonic Aberrations traces the history of Black feminist experimental short film in the United States and the United Kingdom from 1968-present. She is the author of the 33 1/3 entry on Janet Jackson’s The Velvet Rope.

Virtual cinema

Screen Slate has curated a special selection of new releases and recent restorations available to rent, with 50% of proceeds supporting us as we continue to pay writers, redevelop our website, and offer honorariums for our new screening series. Spaceship Earth is $3.99, and other titles are $12 (or $10 for Screen Slate members - info here.)
 
Spaceship Earth (Matt Wolf, 2020)

In 1991, 8 researchers entered the Biosphere 2, a 3-acre geodesic structure in Arizona, touted as the largest closed ecological system on planet Earth. The intent was to house the inhabitants for 2 years. Matt Wolf's acclaimed documentary charts the stranger-than-fiction drama that ensued. A NEON release.

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The Whistlers (Corneliu Porumboiu, 2020)

A cool, deadpan neo-noir about a corrupt undercover cop who must learn an indigenous language based on whistling to pull off a hesit. Rife with sexual tension, absurdist humor, and innumerable twists, The Whistlers has been hailed as a Romanian answer to the Coen Bros. A Magnolia Pictures release.

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A White, White Day (Hlynur Palmason, 2020)

In a remote Icelandic town, an off-duty police chief begins to suspect a local man of having had an affair with his late wife, who died in a tragic accident two years earlier. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A Film Movement release.

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Dona Flor and Her Two Husbands (Bruno Barreto, 1976) - New Restoration

Based on the novel by Jorge Amado, this landmark Brazilian comedy follows the strange events that befall Dona Flor (Sonia Braga) after she is left a widow by the death of her wild, irresponsible husband. Shortly after remarrying, she finds her less-than-satisfying sex life revived when the ghost of her late husband returns. A Film Movement release.

Rent it here
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