Between the expression and acceptance of the film, there is a "corner" issue that needs to be discussed. There are hardly any "straight" movies. Because "straight" itself also provides the interpretation of "angle". We can't be exactly what the director thinks. An acute angle is innocuous and sometimes cute. Like a sneeze in a prison environment. The right angle is abrupt, and it's a difficult piece to place. We start by questioning the legitimacy of its appearance in the film. Von Trier's films are right-angle films. Right angles are neutral when it comes to looseness and tightness. More often, the film's enemy is an obtuse, reverse pull. It is the consequence of a runaway ambiguity. The extremes lead to all our fun in putting the movie aside. Other times, an obtuse angle signifies an unexpected reputation, as in the case of "Room" becoming a film-history classic. In short, obtuse angles always tell about getting out of control. Diagonal attention is so important, but staying ambiguous is even more important.
View more about Caché (Hidden) reviews
