"I sit there pouring out my woes year after year, coming up with one enormity after another about my mother and the way she let me down; but it doesn't make me any the less fearful"
About this Quote
Therapy, in Lars von Trier's telling, is a prolific script machine: endless drafts of grievance, each one more baroque than the last. The line lands like a confession and a jab at the whole culture of explanatory selfhood. He can manufacture "one enormity after another" about his mother - not just complaints, but grand, story-shaped indictments - and still fear sits there, untouched. That's the punch: narration isn't cure, and insight can become performance.
Von Trier is famous for turning shame, anxiety, and cruelty into aesthetic method; the quote reads like a director describing his own writer's room. "Pouring out my woes year after year" mimics the tempo of compulsive repetition, the way trauma can become a genre you keep returning to because it's familiar, not because it's resolved. The mother is both specific and archetypal: a ready-made origin story that offers moral clarity ("she let me down") and the seductive promise that if you locate the culprit, you'll regain control. He undercuts that fantasy by admitting the fear survives the explanation.
The subtext is almost accusatory toward catharsis itself. If the telling doesn't change the feeling, what's it for? Sometimes it's cover: analysis as avoidance, autobiography as armor. Coming from a director whose films often stage suffering with uncomfortable intimacy, it also reads as an admission that art and confession can circle the wound without closing it - generating meaning, even notoriety, while leaving the body braced for impact.
Von Trier is famous for turning shame, anxiety, and cruelty into aesthetic method; the quote reads like a director describing his own writer's room. "Pouring out my woes year after year" mimics the tempo of compulsive repetition, the way trauma can become a genre you keep returning to because it's familiar, not because it's resolved. The mother is both specific and archetypal: a ready-made origin story that offers moral clarity ("she let me down") and the seductive promise that if you locate the culprit, you'll regain control. He undercuts that fantasy by admitting the fear survives the explanation.
The subtext is almost accusatory toward catharsis itself. If the telling doesn't change the feeling, what's it for? Sometimes it's cover: analysis as avoidance, autobiography as armor. Coming from a director whose films often stage suffering with uncomfortable intimacy, it also reads as an admission that art and confession can circle the wound without closing it - generating meaning, even notoriety, while leaving the body braced for impact.
Quote Details
| Topic | Mother |
|---|---|
| Source | Help us find the source |
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