Some things I liked some I did not.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

If I had a dollar for every time 'devastating' was used to describe a Lars Von Trier film, I would have...well, a lot of money. He continually relishes on images that shock the mind and soul. He is admired for his ability to not hold back. His ties to Dogme 95 are evident, but paradoxically, here he makes it a deliberate stylistic endeavour; his favoured nervy, hand-held style, the washed out palette, the graininess of the image. How ironic that in the pursuit of authenticity and simplicity he had taken an extra, unnatural step - the filtered look of the film was achieved by transferring the stock to video and back again. The desired impression is the guise of naturalism and realism, as if we were observing the events ourselves. But this collapses on itself when we are the only ones in the scene with Emily Watson. Suddenly the fragility takes on a different meaning. We become perverse intruders on a mental breakdown, but there is no one here save for the audience, so it is performance we are witnessing. To her credit, Watson keeps us guessing whilst the script is more direct. It presents to us a child, without any tangible prospects or abilities, who throws tantrums when control is wrested away from her because of the real world's demands. She counts the days on the calendar until her beloved Jan returns, but this isn't enough - Von Trier feels the need to throw in a crude, stick figure drawing as though she is a kindergartner with a crush. The first time she responds to her own prayer in a deeper intonation (God is Irish, apparently), it is mildly humorous, but by the end it is tragic. Watson is good enough to seed doubt in our minds. When her faith begins to waver, these prayers lose their mystical quality and just once, she responds as God in her normal voice. She shows glimpses of Bess' logic and reason when she wrests with her own conscience and selfishness. In the very early beginnings, she acknowledges the camera and invites us into her mind, cheekily grinning and almost winking at what is to come. There are brief moments of heart and stability; see how Watson makes phone sex endearing and cute, how she pauses and hesitates to be explicit, because her religion has coded her against it. So to dive into the deep end, and go against these teachings must demonstrate incredible strength and willpower, must it not? A oft criticism of the film is that it treats Bess not only in childish terms, but as a surrogate for battering, being shoved along without agency and subject to continually harsher abuse. She is confined by the patriarchal constructs of the religion, raised a virgin and cursed to hell for her sins (but those sins which are an act of bravery and pure love). A gender reversal would not only be illogical and radical, but conjure none of the shock. Von Trier is vague about the origins of her development and capabilities, and hastily sidesteps this dilemma. He answers the true question with his final sequences, which are steeped in Christian allegory: the public denouncing by the church (the Pharisees), the Christlike sacrifice by taking the burden of sin, the desecration of the grave for and the spiritual rebirth (at sea), with the bells signalling the miracles that we have witnessed. It's religious propaganda, and not subtle at that; Bess must be put through figurative hell (the result of her own sin) before she finally gains her martyrdom. And it is typical Von Trier, a cruel joke played by a cruel god. She dies with the knowledge that she has failed her husband, and is going to literal hell. Only then can Jan begin to walk again.

Dancer in the Dark is one of the most emotionally devastating films I've ever seen. It's one of the extremely few films to actually make me cry and its sheer power makes it Lars Von Trier's masterpiece for me. When I heard about Breaking the Waves and how it's part of the same 'Golden Hearts' trilogy as Dancer in the Dark, I just had to see it. I'm not a normal cinema-goer who goes out to see mainstream films for entertainment. Of course, I do do this from time to time. I'm not a complete film snob. However, the films which I admire the most are the ones which pack a strong emotional punch which you never forget. I love depressing films which stun me into silence and play on my mind for days after seeing it. Breaking the Waves is one of these films.Whilst I personally don't think it's quite as good as Dancer in the Dark (I just love how Dancer in the Dark is a musical and everything) it's certainly not far off, and is definitely one of Lars Von Trier's (a director I admire very much) greatest films and one of the greatest films I've ever seen period. Just like Dancer in the Dark, the film opens on a happy and humorous note. Our hero, Bess is getting married to the love of her life, Jan and everyone's having a wonderful time. Not least is Bess who discovers the magical powers of making love. A stark contrast to the loveless sex she has during the crushing final hour of the film.Lars presents their love as an honest and pure one. It's cleverly against the backdrop of a god-fearing, miserable Scottish village that aren't very Christian at all. It shows how damaging religion can be to someone as childlike and naive as Bess, who regularly plays out conversations with God and imagines Him as a cruel and impatient old man with no sympathy for anyone. Lars takes his time in telling the story. The first part of the film looks at how in love Bess is with Jan. She's absolutely infatuated with him and is outrageously devastated when he has to go back to the oilrigs for some time. Emily Watson makes Bess' pain feel all the more overwhelming with her realistic portrayal of hysteria.Like most of Lars' films, Breaking the Waves is broken up into a series of chapters. Each one becomes more disturbing as the film goes on. Many have accused Lars of being sadistic and nihilistic in his treatment of Bess, however I disagree. If Lars wanted to be sadistic then he would have been much more explicit in the latter scenes of the film and wouldn't have given as much time to allow Bess to develop as a character. As I said before, the film is very patient in telling the story and whilst I wasn't bothered or bored by this at all others may be. It's important to be patient with the film and allow yourself to immerse yourself in it. The earlier scenes which depict Bess anticipating Jan's arrival are slow but extremely important. It just shows how much Bess is in love with Jan, and how childlike and charming this love is.When Jan is paralysed we feel Bess' pain. She sticks by him and just wants to be with him. It's all the more tragic that this is her undoing. Bess' descent into sexual degradation and humiliation becomes increasingly more painful to watch. It's all the more excruciating as the film is shot on Lars' signature raw hand-held camera which gives the film an incredible sense of documentary realism. There's nothing you can do but weep for poor Bess and her immature ways of thinking. I didn't cry, but I almost did. Tears filled in my eyes in some parts and a very potent lump formed in my throat. It's an incredibly powerful look of a woman's life spiralling into madness.Breaking the Waves is a powerful and heart-breaking piece of cinema. Emily Watson is incredible as Bess and really does immerse herself in her character. I don't know who else Emily was up against in the Oscars, but I'm pretty sure she should've won. The surrealistic ending is bound to infuriate many, but for me it just confirmed the film as a masterpiece. It was the perfect way to end and made the film all the more powerful. It's not an easy watch and it's extremely depressing, but it's also one of the most heart-breaking experiences I've had watching a film. Lars Von Trier has created a timeless masterpiece. One which has the power to move, compel and inspire.

To however it may concern. CAREFUL It is supposed to be a 7,9/10 movie about human beliefs,faith and life and strong emotions like love. After having the Misfortune to see it this is a review. The film has a unique picture that seems like a cheap hand-held camera.Somewhat irritating but again i thought that they want to emphasize the story and characters so i didn't mind. It also has an interesting start of a story that seems promising and deep.BUT the story continues without adding anything to the mystery and drama situation it shows and it is moving with a very slow pacing and i mean VERY SLOW, (it is 2:30+ hours film.) In so much time it should really built up interesting characters but no. As the movie continues you will feel that you cant really relate to ANYONE, the story is Bizarre and with absolutely no meaning. Acting is quite bad way worse than most TV shows. I really don't see how it is SO OVERRATED, I ONLY ASSUME CRITICS SLEPT AFTER A WHILE SO THEY RATED THEIR DREAM! Serioysly it is a 3 /10 MAX and that is being generous. BUT UNFORTUNATELY it has a MISLEADING Rating that made ME( and many others lol) to LOSE 2+ hours of my life to it. I feel cheated of imd rating.

Winner of the Grand Prix award at the 1996 Cannes Film Festival, & the first in Lars Von Trier's "Golden Heart Trilogy". "Breaking The Waves" is a cruel, yet somewhat touching film based on a twisted sense of innocence and love. No matter what happens after the credits, the outcome will leave you heartbroken and empty."The Golden Heart" trilogy in a nutshell involves the female protagonist to remain completely naive throughout the story, and virtually give all of herself up to and for the people she loves.Bess (Emily Watson), is a lady with a history of mental problems and is set to marry her beloved Jan (Stellan Skarsgard), despite the negative reactions of her church and family. What begins as a fiery month of passion, tragedy strikes. Though Bess remains faithful, Jan has ideas for Bess that he believes will keep Bess satisfied, and remove any further motivations for suicide.Gut-wrenching to say the least, "Breaking The Waves" is clearly the breakout movie for Von Trier and everyone else involved. Especially that of Emily Watson, whose powerhouse performance will challenge you on just how far you are willing to go with her on this twisted tale. Saying that, story has never been the strongest point of Von Trier's movies, and I easily found myself connecting the cruel twists of fate in this picture to his later work "Dancer In The Dark" (2000). Situations become too bizarre and ludicrous, just for the sake of beating down this poor woman (I guess that was the overall idea). Still with these kind of setups, the actors have incredible potential and a broad range of emotions available. Shot with Trier's Dogme95 Manifesto, the grainy hillsides of Scotland help lift the fog off the ground, and build a landscape that manages to echo that of its subject matter efficiently and eloquently.Final Verdict: Told in chapters to some superb music cues and locations, This depressive story shall grind you down like no other throughout, yet somehow by the end it manages to instill a sense of hope and optimism rarely seen in cinema. Or at least more than most blatant Hollywood romances go. 7/10.