As every art-house director knows, for mood and atmosphere you only need cut out the dialogue - that's easy. Every line of dialogue makes the action more human, more trivial - which may be the main reason why Shakespeare's plays have little emotional value, no matter how rich the poetry and how high the body count. I mention Shakespeare because the visual presentation here kept reminding me of Hamlet, and no doubt Trier could do a good one because he adds plenty of artistry to the most pared-back ideas. It's not rich, but sparse and fragmentary, like a tattered cloth buffeted by the wind, like patches of memory. The characters merge with the natural elements on several occasions, the sea, the windblown grass.
Medea is very much trapped in an imposed psychology, as are we all. The gods are pulling all the strings, or so it seems. She is not callous, not mechanical in killing her children, but tortured as she does fate's bidding. The children are part of the same system and must play their role in honouring their mother's agony. The tragedy is in the passive resignation. Trier communicates this far better than Pasolini, who communicated next to nothing in his version. We're watching someone plumb the very abyss of misery on account of simple vanity. That has always been worth some reflection.
Medea is very much trapped in an imposed psychology, as are we all. The gods are pulling all the strings, or so it seems. She is not callous, not mechanical in killing her children, but tortured as she does fate's bidding. The children are part of the same system and must play their role in honouring their mother's agony. The tragedy is in the passive resignation. Trier communicates this far better than Pasolini, who communicated next to nothing in his version. We're watching someone plumb the very abyss of misery on account of simple vanity. That has always been worth some reflection.