THE FIRST admission to make is that I haven’t yet seen Lars Von Trier’s Dancer In The Dark, the film that stars Björk and features her music. Neither do I have any great desire to do so. The ideas behind Dogme 95 are fine, if they’re an antidote to Hollywood 2000, but I wasn’t alone in regarding Breaking The Waves as being a cheap, pointless exercise in emotional bullying. The Idiots seemed little more than an absurd hangover from the myopic self-aggrandisement of early 70s hippy commune politics. (...)
