BREAKING THE WAVES

Danish director Lars Von Trier's new film, set in a windswept and sparse Scottish coastal town in the early 70s, is - like the landscape it depicts - bleak, harsh and unforgiving; yet at the same time beautiful, powerful and uplifting.

The plot concerns Bess, a young, slightly backward girl brought up in a strict Presbyterian village community where outsiders are frowned upon and women are expected to be silent and respectful. When Bess marries Jan, a worldwise Scandinavian oil-rig worker, the church elders and the rest of the village disapprove. Bess ignores their criticisms, as she and Jan are completely and utterly in love; she depending on him and wishing only to please him, he struck by her childlike innocence and wonder in the world around her. Believing that she can converse directly with God, Bess is thankful for her new-found happiness and prays gratefully, yet convinced that she must be good for her joy to continue. When Jan and she are separated because he must return to the rig, she desperately prays for his return - at any cost.

I will not reveal any more of the plot, as it is well-woven; at times harrowing and disturbing, but always compelling. Breaking The Waves is a complex, multi-layered film, dealing with love, religion and morality in an understated and subtle way, each character having different and believable perspectives on the events forced upon them.

At the heart of the film is Bess, marvellously played by newcomer Emily Watson. Capturing perfectly the innocence, fear and confusion her character experiences, Watson is a joy to watch. never patronising or strained, her facial expressions and mannerisms brilliantly portrayed. It is her film. Having said that, all other roles in the film are played well, no-one turning in a poor performance. Bess's sister-in-law and Jan himself are both played with compassion and conviction: it is simply that next to Watson, all other performances cannot help but be overshadowed slightly.

Breaking The Waves captures the 70s feel well, with its wing collared wedding guests and woodchip-walled interiors. Also contributing to this feel is the fact that the majority of the film is shot on hand-held camera with grainy film stock, making some scenes seem like a documentary from that era. In addition, the narrative is split into chapters, each one introduced by a panaromic shot of countryside or townscape, the camera lingering over the changing light as a 70s track such as one by Bowie or T Rex - the only music in the film - plays.

Which brings us to the ending of the film. Outstanding. In a stroke, Von Trier turns the film and our conceptions throughout on their heads, redefining all that has happened up to this point. Some may complain at the final scene, but in my view it was a moment of genius.

Breaking The Waves will certainly not be to everyone's taste - if you don't like European arthouse movies, stay away - but it is inspirational and superbly-made cinema nonetheless.

Emotionally-charged, heartbreaking drama 9/10