Filme bacaninha, o roteiro é mais ou menos, o filme tem cenas não tão relevantes, o filme começa a ser tornar interessante quando um grupo fica alguns dias em uma casa e fazem a festa lá com orgia entre mulheres e homens, bebidas e mais diversão, só que depois dessa diversão toda o filme não teve mais nada disso e acabou, a brincadeira e a orgia salvaram o filme.

An interesting addition to 90s alternative cinema, which is also von Trier's only addition to his infamous Dogme 95 movement, is a fun yet heartbreaking film with a great concept and amazing execution. Von Trier is definitely my favorite director, and while this may be one of his worse films, it's still an amazing film. All of the hyjinks are fun and provocative, but this is also one of von Trier's most heartfelt films that at its core, is a deeply moving and emotional story. The Idiots is definitely not for everyone, but it's a great and emotional addition to alternative cinema.

A good ending and some very good scenes but it just makes no actual sense except the one character. So…nah not for me. Watched on DVD.

Is this a mock from Lars Von Trier? We know you're a transgressor and provocateur, but c'mon! Do something good at least

"The Idiots" sounds like a film about movie critics!

Es kostet schon etwas Überwindung, sich zwei Stunden lang dieser Dogma 95-Kacke (sorry, not sorry) auszuliefern. Doch so froh ich über von Triers Abkehr von seinem eigenen Manifest in den letzten Jahren bin, so wundervoll ist doch "Idioten". Die Geschichte ist simpel: Eine Gruppe junger Menschen tut so als wäre sie geistig eingeschränkt. Fertig. Die Zwischen- und Untertöne, die sich aus diesem Setup ergeben sind allerdings erstaunlich feinsinnig (beste Szene: die potenzielle Käuferin des Hauses). Mehrfach hält der Film dem Publikum den Spiegel vor und viele Dinge, die in diesem Film gesagt werden, habe ich genauso während meiner Zeit bei der Lebenshilfe erlebt. Der Film funktioniert also auf mehreren Ebenen, ist erstaunlich lustig und einfühlsam, provoziert genau im richtigen Maß und spricht sehr verschiedene Wahrheiten für unterschiedliche Teile des Publikums aus. Ein bisschen zu lang ist er trotzdem.

Through the first watch the beginning part of the film can be quite annoying though the further you get the greater it gets and the finale - touching and emotional.Von Trier is a master.

There was a nice little twist at the end that almost justifies the previous 100 minutes. Almost, but not quite.

"If you could see things differently you might see the beauty of them ... obviously an outsider can't see what it means." It seems like those lines could very easily have been von Trier's own as he explains his entire style - inventive, original, strange for its own sake, and more than a little pretentious. The least popular and most divisive of the director's 'Golden Heart' trilogy, and perhaps his entire filmography, The Idiots seems like a good encapsulation of von Trier's tendency to make movies unlike anything that you have seen before, but by pushing boundaries in directions that are ultimately unnecessary, unrewarding, and have had little if any emulation by other mainstream filmmakers. This is one of the more shock value-heavy von Trier films, but it feels less like it was intended to have any thematic depth than it was simply a means to generate controversy and awards-season buzz. That said, von Trier knows how to cast and to elicit strong performances from his actors, even if he places them into some rather strange overarching narratives that feel like rough drafts from edgy film-school screenwriters. Additionally, The Idiots feels far more relevant to the visual style of the Dogma 95 'manifesto' than many others, it's reaction-based and almost reality show-esque plot delivering much more of an authentic feel, far more so than the surrealist exuberance of Dancers in the Dark. But then I remember that The Idiots opens with a literal signed certificate attesting to the film's adherence to the tenets of von Trier's pure, high-minded shaky-cam style, and it brings me back to earth. (2/5)

I spent some time reading positive reviews of this movie to make sure I understood what exactly it was that I missed. I pride myself in enjoying nearly every movie I've ever seen; this is absolutely not one that I enjoyed. The merits others have pointed out (and the not-terrible ending where one of the characters' motivations are revealed) did nothing to correct how extremely off-putting the entire premise of making oneself a burden on others was to me. At no point did this seem like deft filmmaking or provocative subject matter, it only ever felt like completely ignorant exploitation. They went to some length to establish that the group was improving in its ability to act mentally handicapped and then put them all in a sex scene together. The opening act at the restaurant was the high point of the movie in that I didn't yet understand the premise, but from the moment I did until about 3 minutes before the end of the movie the entire thing just reeked of an awful idea that von Trier turned into a movie because nobody told him not to. Sandwiching this turd in between two good movies and calling it a trilogy lends unwarranted importance to a film that buries its merits beneath a mound of reprehensible decision-making and the fallacious notion that behaving the way they do would lead to any sort of self-improvement whatsoever. I would have preferred never to have seen this.

I hope Lars von Trier suffocates on a dog's dick.

This movie has no meaning. Just filming the life of some retarded people. No story. No framework. No goal. Waste of time and money.

The Idiots is a dark and daring deconstruction of societal attitudes towards disability, coupled with a meditation on the fleeting, never-quite-attainable nature of freedom. Sticking semi-strictly the constraints of Dogme 95 filmmaking, this fuzzy film charts the punk-inspired mishaps of a group of people who like to go out and pretend to have learning disabilities - and claim to have one or two good reasons for doing so. Some spout bizarre anti-establishment arguments in favour of the freedom and simplicity of the lives of the less capable and self-aware, which they believe better the constraints of an educated existence dedicated to the building up of 'middle class bullshit'. Others are merely disturbed, traumatised or bored with the severity of a serious life, and in desperate need of a frivolous escape. Slowly but surely, writer-director Lars Von Trier's characters grow increasingly obsessed with the idea of trying to channel their 'inner idiots'. As this happens, the film's challenging concept and character psychology grow ever more understandable, yet ever more unattainable - much like the deranged sense of freedom and community each lost soul so desperately wants and needs to claim as their own. The Idiots is a bold, ballsy character study; unique, uncompromising and utterly unforgettable.

Lars von Trier swings and misses with this somewhat experimental and bold (pretentious?) film. It was a film made with a ridiculous code some Danish filmmakers signed known as Dogma 95, which takes a minimalist approach to filmmaking and storytelling. The idea of adults pretending to be mentally handicapped might have been intriguing on paper, but the film is contemptible from the first scene to the last. Von Trier seems to think his audience is a bunch of uptight snobs who are too stupid to know what's good for them, and that could be why many people felt uncomfortable with this movie (beyond the obvious point of seeing healthy people "spassing" out or the thoroughly gratuitous hard-core sex scene in the middle). I'll say that at least it wasn't boring and I did laugh a few times despite myself. Overall, The Idiots is a truly bad film.

Won't be everyones cup of tea but it is compelling and absurd.

Its Dogme style is certainly original and very much so effective, but Lars von Trier's true mastery doesn't come out as well as it should, but the movie nonetheless carries a large amount of philosophy and provocation.

Provocative, perverse, twisted and highly offensive -- Lars von Trier's experimental film brings up a slew of cultural and societal issues. The entire film is intended to make the audience feel uncomfortable. The key to why it manages to work comes in the closing moments of the movie.

Imperfectamente perfecta. Vanguardista y antisistema tanto en su técnica como en su discurso.

Imperfectamente perfecta. Vanguardista y antisistema tanto en su técnica como en su discurso.

Stupid, empty, useless. And deadly boring, that is the worst thing. And really nothing new: "experiments" of this kind - including explicit penetration, has already been done in the 70s, and then abandoned. Fortunately, after this horror, the infamous dogma 95 has been abandoned. But it had the time to make some damage, the worst being this "The idiots"