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The Golden Heart trilogy (Danish: Guldhjerte-trilogien) is three films by the Danish screenwriter and director Lars von Trier. It consists of Breaking the Waves (1996), a melodrama about sex and religion; The Idiots (1998), a Dogme 95 film dealing with moral conventions; and Dancer in the Dark (2000), a musical starring the Icelandic ...
Rate. 63 Metascore. An Eastern European US immigrant with a love for musicals has to cope with the gradual loss of her vision. Director: Lars von Trier | Stars: Björk, Catherine Deneuve, David Morse, Peter Stormare. Votes: 116,506 | Gross: $4.18M. Lars von Trier The Golden Heart Trilogy.
1 ^ These are the original titles that the films and miniseries were given. 2 ^ The Elements of Crime, Epidemic and Europa are, respectively, the first, second and third part of the film trilogy Europa. 3 ^ Breaking the Waves, The Idiots and Dancer in the Dark are, respectively, the first, second and third part of the film trilogy Golden Heart.
Von Trier achieved international success with his Golden Heart trilogy. Each film in the trilogy is about naive heroines who maintain their "golden hearts" despite the tragedies they experience. This trilogy consists of Breaking the Waves (1996), The Idiots (1998), and Dancer in the Dark (2000).
Trilogy Series: The Golden Heart Trilogy. Ranking of The Golden Heart Trilogy : ★★★★. Ranking of the films: 1. Dancer in the Dark ★★★★½ ♥. 2. Breaking the Waves ★★★★½. 3. The Idiots ★★★. The Films are in the order they where release, Read notes for individual reviews. Other Trilogies in the Series: The Jersey Trilogy. The Paradise Lost Trilogy.
Movies about Golden Heart Trilogy 3. Movies ordered by position. 1. Breaking the Waves (1996) 7.5. 23,486. Lars von Trier. Emily Watson, Stellan Skarsgård, Katrin Cartlidge, Jean-Marc Barr, Udo Kier, Adrian Rawlins, Mikkel Gaup, Jonathan Hackett, Sandra Voe, Roef Ragas. 2. The Idiots (1998) 6.6. 24,100. Lars von Trier.
14 de abr. de 2014 · Essays — Apr 14, 2014. B reaking the Waves (1996) is a movie that broke the rules, exploding so many norms of mainstream cinema that its very existence—not to mention its vast popularity and critical acclaim—seems almost as astonishing as the miracle that gives the story its visionary ending.
