Tom Elling

Tom Elling, cinematographer for Lars von Trier's The Element Of Crime (and his earlier student works, Nocturne, The Last Detail and Befrielsesbilleder) made his debut as a feature-film director with Perfect World, a collaboration with poet Peter Laugesen. Described by Elling as a "visual poem", and by Laugesen as "a collage of dreams - of bubbles or planets in the ocean or universe", the film is very much in the same visually expressive style of The Element Of Crime (indeed, the extent of Elling's contribution to the look of Trier's early works is self-evident). One of the most intoxicatingly beautiful films I've ever seen - the luminous monochromatic cinematography, hallucinatory lighting and liquid editing make this a truly astonishing experience unlike anything else.

Tom Elling, cinematographer for Lars von Trier's The Element Of Crime (and his earlier student works, Nocturne, The Last Detail and Befrielsesbilleder) made his debut as a feature-film director with Perfect World, a collaboration with poet Peter Laugesen. Described by Elling as a "visual poem", and by Laugesen as "a collage of dreams - of bubbles or planets in the ocean or universe", the film is very much in the same visually expressive style of The Element Of Crime (indeed, the extent of Elling's contribution to the look of Trier's early works is self-evident). One of the most intoxicatingly beautiful films I've ever seen - the luminous monochromatic cinematography, hallucinatory lighting and liquid editing make this a truly astonishing experience unlike anything else.

A risqué TV commercial directed by Lars von Trier for Ekstra Bladet. (Danish tabloid paper)

Fisher, an ex-detective, decides to take one final case when a mysterious serial killer claims the lives of several young girls. Fisher, unable to find the culprit, turns to Osbourne, a writer who was once respected for his contributions to the field of criminology. Fisher begins to use Osbourne's technique, which involves empathizing with serial killers; however, as the detective becomes increasingly engrossed in this method, things take a disturbing turn.

Set in Copenhagen during World War II, the film follows a German officer who visits his Danish mistress in the days after the occupation of Denmark has ended.

Set in Copenhagen during World War II, the film follows a German officer who visits his Danish mistress in the days after the occupation of Denmark has ended.

It's night. Perhaps after a dream of an intruder crashing through a window, a woman who's sensitive to light has a telephone conversation with a friend. The woman has a plane ticket from Copenhagen to Buenos Aires at 6 that morning. She doesn't want to go. Her friend encourages her to make the trip. Later, she stands in a car park with her suitcase. Flying geese fill the screen.