Von Trier has polarised audiences since he exploded into cinemas over a decade ago. Breaking The Waves put the iconoclastic director into theatres worldwide: some got it, most didn’t. Dancer in the Dark served as a turning point for audiences and eased the way for Nicole Kidman in the first of his American trilogy, Dogville. It was an audacious film that took theatre into cinemas with devastating effect. Manderlay picks up that story in 1933 when Grace (Howard replacing Kidman), on the move with her gangster father (Dafoe), stumbles into a Southern plantation. To her horror, it is still run by slaves seventy years after Emancipation. She seeks to bring democracy and freedom to this enclosed world, an act of liberal reform that has as many supporters as it does detractors. Replacing rules which governed the cotton plantation, Grace soon learns about the hellish paving stones of good intentions.

Inspired by Brecht, Trier’s intent is as provocative as ever.  Obvious themes abound – racism, colonial abuse, social order – but at its core, Manderlay is a critique of political liberalism. That, or its one of the most racist films you’ll ever see. He maintains the stripped production used so effectively in Dogville and with few props and one sparse set there is little to distract us from the actors and the parable. The result is a stunning film that will shock, revile and surprise in equal measure as he gives hand-wringing liberals the slap he thinks they clearly deserve. Manderlay will polarise audiences and will be accused of artistic pretension. Truth is, this is more like medicine – tastes terrible but is surprisingly good for you.

// COLIN FRASER