He just has a funny way of showing it.

Lars von Trier’s latest film leads us once again into the abyss. But can watching graphic cruelty and violence teach us anything about the darkest corners of human nature?

The House That Jack Built is von Trier at his most confessional, and at times his most tedious.

If this shrill, manipulative, sledge-hammer allegory about a serial killer is right for our times, give me Dante any day.

Lars von Trier returns with a controversial serial killer drama. Read the Empire review.

The Danish provocateur, back at Cannes after a seven-year ban, is on exasperating form with a slow and nasty serial killer thriller partly redeemed by its spectacular finale

Lars Von Trier makes a typically provocative return to Cannes

★★☆☆☆ Persona non grata and middle-aged man terrible Lars von Trier returns to UK cinema screens with serial killer black comedy The House That...

NEW TO HULU! There’s a bit of inherent masochism in being a Lars Von Trier fan. One knows before even sitting down in the theater or pushing play on the Bluray player that they’re about to be crushed, devastated, disturbed (possibly for life), yet we keep coming back. My first personal experience with Von Trier’s

'The House That Jack Built' is the serial-killer movie nobody wanted from Lars von Trier, and a failed act of provocation. Our review.

The international arthouse provocateur returns with a serial killer movie that is just enough of a rueful self-examination to keep it from being entirely without worth. But just barely.

Von Trier so badly wants to be reprehensible with his sudden and messy bursts of violence, yet the chaos is empty, the edginess meaningless

The Danish filmmaker Lars von Trier has coped with depression, alcohol abuse and a fairly justifiable persecution complex for years now. In 2011 he shot his mouth off at the Cannes Film Festival, joking about Hitler and Nazis and Jews, and was promptly declared persona non grata by festival officials. He returned to Cannes last […]

Matt Dillon’s crazed architect recalls Lars von Trier’s grisly greatest hits in the director’s perversely timed black comedy

A dark sense of humor and strong stomach are required to appreciate Lars von Trier’s graphically violent serial killer film starring Matt Dillon.

Now screening in an R-rated edit, this tale of a possible murderer remains devoid of feeling or interest