Yes, I did. And it made me hate the movie at the very beginning, which was unfortunate, because I could have liked it much better if that hadn't left a bad taste in my mouth right out of the gates.
The beginning was one of the more grating sequences I've seen in films in recent years. I felt that stylistically Trier was ripping off Godard circa-VIVRE SA VIE and Truffaut circa-SHOOT THE PIANO PLAYER. This could have been chalked up to homage had it not been for the wholesale cribbing of Delerue's "Camille" from the score to LE MEPRIS. Trier, in this moment, for me, had somehow graduated from wearing his influences on his sleeve to rolling up said sleeve and punching his heroes in the mouth. Just because he went and made a film about talky urban youths doesn't mean he had to over-telegraph his neo-nouvelle-vague status.
That said, the rest of the film redeemed itself, and I was happy to see the same narration technique used at the end without quite so much stylistic indebtedness. It's just too bad that the film began things on such an unoriginal note. For a minute or two I thought I was going to have to walk out.
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