Max von Sydow counts you down from ten, and fair play, the film pretty much hypnotises you on the spot. From there, Europa drops you into a postwar Germany where an earnest American still seems to think decency and good manners might be enough. This being a Lars von Trier film, that idea gets fed straight into the gears.
What a mad-looking thing this is. Rear projection, layered images, black and white jolted by flashes of colour, that great foggy voiceover curling round the whole film like cigarette smoke in a train carriage. It should be a mess. Somehow it isn’t. Jean-Marc Barr does a smart job of staying human. At the same time, everything around him turns feverish, and Udo Kier proves yet again that nobody does unsettling quite like Udo Kier just standing in a room.
Leopold is doomed from the start, and so are we, really. Dreamlike, claustrophobic and properly angry about the way Europe tried to tidy away its own rot, Europa feels both showy and weirdly precise. Lars is showing off, obviously. The annoying thing is, he’s good enough to get away with it.