Gustav, meanwhile, refuses to play the role he’s been assigned, teaming up with an American actress (Elle Fanning) to complete his film. He’s a man fighting against a world he no longer feels welcome in, flickering between bullish swagger and childlike fear as he tries to pull off one last masterwork. It’s a staggering performance from Skarsgård, dismantling his innate gruffness to let the pain and fear lingering in Gustav slowly step out of the shadows.
As Trier bounces through the history of the house and its inhabitants, he frequently uses film and theater to disorient us. Scenes from movies are presented as memories. A tense family confrontation seamlessly transitions into an emotional breakdown during a play’s rehearsal.
All the world’s a stage here, but nowhere as much as that house. It’s where these characters give the performances of their lives — trying desperately to tell their stories before the curtain comes down, the set is redesigned, and the next generation takes the lead.