This review originally ran September 2, 2022, in conjunction with the miniseries’ premiere at the Venice Film Festival.
Lars von Trier’s “The Kingdom Exodus” warrants comparison with David Lynch’s “Twin Peaks: The Return” for multiple parallels between the two: Both are peak prestige TV with indelible auteurist hallmarks, returning for their third seasons after a quarter-century hiatus. Both invoke the supernatural, concoct elaborate lore and boast captivated cult-like followings.
Though the Danish “Kingdom” is of course much lesser known, its first two seasons did make enough of a cultural impact through international theatrical runs to spawn a Stephen King–created American remake, “Kingdom Hospital.”
“Kingdom Exodus,” making its world premiere at the 2022 Venice Film Festival, gets much more meta. In the cold open, Karen (Bodil Jørgensen) watches von Trier’s signoff from the previous season’s finale on TV. Frustrated by the series’ loose ends, she heads to bed and...
Lars von Trier’s “The Kingdom Exodus” warrants comparison with David Lynch’s “Twin Peaks: The Return” for multiple parallels between the two: Both are peak prestige TV with indelible auteurist hallmarks, returning for their third seasons after a quarter-century hiatus. Both invoke the supernatural, concoct elaborate lore and boast captivated cult-like followings.
Though the Danish “Kingdom” is of course much lesser known, its first two seasons did make enough of a cultural impact through international theatrical runs to spawn a Stephen King–created American remake, “Kingdom Hospital.”
“Kingdom Exodus,” making its world premiere at the 2022 Venice Film Festival, gets much more meta. In the cold open, Karen (Bodil Jørgensen) watches von Trier’s signoff from the previous season’s finale on TV. Frustrated by the series’ loose ends, she heads to bed and...
- 11/26/2022
- by Martin Tsai
- The Wrap
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