A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits town, she finds out that their support has a price. Yet her dangerous secret is never far away...
Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
Selma has emigrated with her son from Central Europe to America. The year is 1964. Selma works day and night to save her son from the same disease she suffers from, a disease that inevitably will make her blind. But Selma has the energy to live because of her secret! She loves musicals. When life feels tough she can pretend that she is in the wonderful world of musicals...just for a short moment. All happiness life is not able to give her she finds there... Written by
Fredrik Klasson <firstname.lastname@example.org>
In her September 2005 book "Close Up and Personal", Catherine Deneuve writes of the difficulties of filming this movie. Despite some initial misgivings (filming of the musical scene in the factory was "disordered", and film preparations ran late) Deneuve decided that things would be professional, as Lars von Trier knew what he wanted to do and people would follow his lead. Later, however, she says she realized there was no point asking von Trier to explain her character further, because she didn't have many scenes. Deneuve's account makes it clear both Von Trier and Björk were difficult to work with, but she also comments that she enjoyed the experience, while not making real connections. See more »
When Selma knocks on the door and her foreman answers it the door opens from the wrong direction and they are clearly not in the same factory building. See more »
[referring to Gene]
Why did you have him? You knew he would have the same disease as you.
I just wanted to hold a little baby.
See more »
Gene Kelly's musicals may never have tempted a tear, but this film sure did. This is the most creative and powerful film I've seen this year. I just got back so it will take a while to absorb where it fits in the hierarchy of great movies, but it is one of the few 10's I have ever given on IMDB. I went in knowing nothing other then that Bjork was the lead and that it was a Cannes favorite, I and was rewarded greatly. I am not closed minded, but I thought I would never again find a musical that so wrapped you up in the emotional core of the piece, such as the musicals that I enjoyed in my youth. Its style is experimental enough that I would be surprised if it got a Best Film Oscar nod, but never would I be surprised for any honors bestowed on Bjork, who torturingly WAS Selma for those two painful hours. She is a goddess.
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