| Photos (see all 8 | slideshow) | Videos (see all 2) |
| Jean-Marc Barr | ... | Leopold Kessler | |
| Barbara Sukowa | ... | Katharina Hartmann | |
| Udo Kier | ... | Lawrence Hartmann | |
| Ernst-Hugo Järegård | ... | Uncle Kessler | |
| Erik Mørk | ... | Pater | |
| Jørgen Reenberg | ... | Max Hartmann | |
| Henning Jensen | ... | Siggy | |
| Eddie Constantine | ... | Colonel Harris | |
| Max von Sydow | ... | Narrator (voice) | |
| Benny Poulsen | ... | Steleman | |
| Erno Müller | ... | Seifert | |
| Dietrich Kuhlbrodt | ... | Inspector | |
| Michael Phillip Simpson | ... | Robins | |
| Holger Perfort | ... | Mr. Ravenstein | |
| Anne Werner Thomsen | ... | Mrs. Ravenstein | |
| Hardy Rafn | ... | Man in Housecoat | |
| Cæcilia Holbek Trier | ... | Maid | |
| János Herskó | ... | Jewish Man | |
| Talila | ... | Jewish Wife | |
| Claus Flygare | ... | Father | |
| Jon Ledin | ... | American Soldier | |
| Baard Owe | ... | Man with Papers | |
| Leif Magnusson | ... | Doctor Magnus | |
| Lars von Trier | ... | Jew | |
| Vera Gebuhr | ... | Depot Assistant | |
| Else Petersen | ... | Old Female Assistant | |
| Ben Zimet | ... | Old Man 1 | |
| Thadee Lokcinski | ... | Old Man 2 | |
| Peter Haugstrup | ... | Piccolo |
Directed by | |||
| Lars von Trier | |||
Writing credits | ||
| Lars von Trier | (writer) & | |
| Niels Vørsel | (writer) | |
Original Music by | |||
| Joachim Holbek | (as Joakim Holbek) | ||
Cinematography by | |||
| Henning Bendtsen | |||
| Edward Klosinski | (as Edward Klosinsky) | ||
| Jean-Paul Meurisse | |||
Film Editing by | |||
| Hervé Schneid | (as Herve Schneid) | ||
Production Design by | |||
| Henning Bahs | |||
Costume Design by | |||
| Manon Rasmussen | |||
Makeup Department | |||
| Isabelle de Araujo | .... | makeup artist | |
| Sanne Gravfort | .... | hair stylist | |
| Morten Jacobsen | .... | key makeup artist | |
| Dennis Knudsen | .... | hair stylist | |
| Jolanta Pruszynska | .... | makeup artist: Poland | |
Art Department | |||
| Andrzej Borecki | .... | production designer: Poland | |
| Søren Gam | .... | property master (as Søren G. Henriksen) | |
| Peter Grant | .... | property master | |
| Simone Grau | .... | assistant props (as Simone Grau Larsen) | |
| Emil Kostecki | .... | property master: Poland | |
| Bogdan Piotrowski | .... | property master: Poland | |
| Finn Skovgaard | .... | storyboard artist | |
| Kazimierz Stys | .... | property master: Poland | |
| Gitte Zehngraff | .... | assistant production designer | |
Sound Department | |||
| Pierre Excoffier | .... | sound recordist (as Pierre Excoffier) | |
| Philippe Fabbri | .... | boom operator | |
| Henrik Garnov | .... | dubbing engineer | |
| Carl Aage Hansen | .... | sound effects | |
| Thomas Krag | .... | sound | |
| Per Meinertsen | .... | sound engineer | |
| Julien Naudin | .... | sound effects | |
| John Nielsen | .... | boom operator | |
| Per Streit | .... | sound designer (as Per Streit Jensen) | |
Visual Effects by | |||
| Jan-Erik Sandberg | .... | optical effects | |
Camera and Electrical Department | |||
| Jan Andersen | .... | lighting assistant | |
| Bo Bendtsen | .... | clapper loader | |
| Jakob Bonfils | .... | grip | |
| Jesper Find | .... | first assistant camera | |
| Andrzej Gierak | .... | lighting technician: Poland | |
| Tomasz Habrewicz | .... | assistant camera: Poland | |
| Jørgen Johansen | .... | electrician | |
| Ireneusz Kisielewicz | .... | lighting technician: Poland | |
| Rolf Konow | .... | still photographer | |
| Krzysztof Koperski | .... | lighting technician: Poland | |
| Marek Modzelewski | .... | lighting technician: Poland | |
| Thomas Neivelt | .... | lighting technician | |
| Tadeusz Obuchowicz | .... | assistant camera: Poland | |
| Søren Sørensen | .... | lighting technician | |
| Jacek Stachlewski | .... | camera operator: Poland | |
| Roman Taborski | .... | lighting technician: Poland | |
| Mike Valentine | .... | underwater camera operator | |
| Henryk Wingert | .... | lighting technician: Poland | |
Casting Department | |||
| Annette Grunnet | .... | casting coordinator | |
| Marie Louise Hedegaard | .... | casting coordinator | |
Editorial Department | |||
| Urszula Lesiak | .... | assistant editor | |
| Michael Frank Nielsen | .... | color timer | |
Other crew | |||
| Sabelle Arcay | .... | production assistant | |
| Britt Bendixen | .... | choreographer | |
| Philippe Bober | .... | production assistant | |
| Ewa Borek | .... | production assistant: Poland | |
| Erik Crone | .... | production assistant | |
| Linda Daae | .... | continuity | |
| Tómas Gislason | .... | continuity | |
| Tómas Gislason | .... | shooting script | |
| Józef Jarosz | .... | production assistant: Poland (as Jozef Jarosz) | |
| Julian Jencquel | .... | production runner | |
| Lisbet Matz | .... | production assistant | |
| Zdzislaw Sajuk | .... | production assistant: Poland | |
| Monica Steenberg | .... | production assistant | |
| Françoise Valentine | .... | underwater coordinator (as Fran Valentine) | |
| Lars von Trier | .... | continuity | |
| Lars von Trier | .... | shooting script | |
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| Au revoir les enfants | Europa Europa | Roma, città aperta | The Man Who Cried | L'accompagnatrice |
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| News articles | IMDb Drama section | IMDb Denmark section |
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Zentropa is another von Trier film that manages to tell an authentically interesting story, revel in its own aesthetic beauty, and engage us in questions of metaphysics. The films narration, as described above, sets the gauntlet very high. The often tired flashback/hypnotism/relapse/etc structure poses a certain disaster to most of the films that dare to use it. However, it is pulled off masterfully.
With Zentropa, we must first buy into the introduction. We prepare ourselves to relive these moments, and allow the film to justify its use of this down the tracks. However, we learn very quickly that what we have been sold is not the standard omniscient perspective. It is distorted and fragmented; emotion has been poured on too thick at parts, while in others it is spread too thin. We must accept the story directly from a mind that we considerably mistrust.
The rest of the film tirelessly reconstructs the scenes of this deranged mind. We transition from b&w film, to color. From a nearly mystical hope, to an absurd pessimism. Time moves too slowly, but abruptly jumps ahead too quickly. von Trier understands the architecture of this 'hypnotic' state supremely.
The movie progresses sporadically which is mandatory given the structure. von Trier plays wonderfully with the noir genre, he throws in some espionage, some sex, love, hats and guns. Finally, he skillfully introduces issues of morality, war, and responsibility- adding a rich political dimension to an already layered film.
The final scenes are visually the most beautiful in the movie, and some of my all time personal favorites. The quiet, tenseless moments in this sequence finally allow us to sink into a comfortable pace and an agreeable aesthetic.
Ultimately, von Trier has framed this film around a giant question of reality. As is his standard. The fact that this metaphysical dimension continually impinges upon the film, justifies its validity. The question was artfully asked. And beneath this works a noir film, a veritable feast of imagery, and wonderful performances.