Considering his penchant for scathing portraits of women, I’m really surprised Lars von Trier didn’t lunge at the opportunity to direct “Precious.” All of his heroines tend to have the standard heart-of-gold complex but tend to remain passive as people begin to take advantage. Rape, hanging, sliced genitals—von Trier’s done it all, continuing to push the envelope—yet every one of his films is nothing short of riveting and artistically brilliant.

2000’s “Dancer in The Dark”, which brought home the Best Actress Award at Cannes for Bjork, is a film of such devastating emotional power I actually had to spend the weekend in bed after seeing it. While it’s not something that necessary merits a second viewing, Dancer remains a testament to von Trier’s ability to rile up his audience and playfully stir the pot. Bjork, who said she’d never act again after the film’s completion, is heart-wrenching, especially in providing the soundtrack. There’s been “Chicago,” “Moulin Rouge” and “Dreamgirls,” but I daresay this stripped-down, cinema verite-esque masterpiece is the best movie musical of the decade.

A mean-spirited meditation on America, “Dogville” caused a critical raucous in 2003 with its lack of sets, three-hour running time and stirring performance from Nicole Kidman. Like great theater, Dogville is divided into a number of acts and all occurs on a stage with a very laconic use of aesthetics. While the anguish inflicted upon Kidman’s character Grace is often difficult to stomach, the Tarantino-esque revenge romp in the film’s final scene redeems everything before.

With plans for a trilogy, von Trier continued to follow his character Grace in the 2005 film “Manderlay,” notorious for showing an alleged killing of a live camel. “Manderlay” features the same ironic conceit of “America: Land of Opportunities,” and while it’s not as effective or groundbreaking as it was with “Dogville,” Bryce Dallas Howard is sublime as she continues the role of Grace

Though he did work on the films “Dear Wendy” and “The Five Obstructions,” von Trier’s next big project didn’t arrive until 2009’s “Antichrist,” which has quickly become one of the most controversial films of the decade. Featuring exquisitely shot yet graphic imagery of sexual violence, “Antichrist” is packed with symbolism as well as stellar performances from Charlotte Gainsbourg and Willem Dafoe. Part horror film, part philosophical nonsense, “Antichrist” garnered the Best Actress Award at Cannes for Charlotte Gainsbourg, and it also received an anti-award for its smug, nasty view of humanity. Von Trier’s latest film certainly lends itself to misogynist and feminist readings alike, but if nothing else it is one of the most beautiful looking films of the decade.

For (hopefully) decades to come, von Trier will continue to titillate our brains while making our stomachs churn. I don’t think there is a greater asshole in cinema today, nor is there probably any Scandinavian filmmaker with this much vision since Ingmar Bergman.

Image sources: allmoviephoto.com, www.coiana.com, www.filmfestivaltourism.com