fbpx Biennale Cinema 2022 | Riget Exodus
La Biennale di Venezia

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Riget Exodus

Out of Competition
Lars von Trier
Zentropa Entertainments (Louise Vesth)
Running Time:
Danish Swedish Latin English
Main Cast:
Bodil Jørgensen, Mikael Persbrandt, Tuva Novotny, Lars Mikkelsen, Nikolaj Lie Kaas, Nicolas Bro, Alexander Skarsgård
Lars von Trier, Niels Vørsel
Manuel Alberto Claro
Jacob Schulsinger, My Thordal, Olivier Bugge Coutté
Production Designer:
Simone Grau Roney
Costume Designer:
Manon Rasmussen
Joachim Holbek
Eddie Simonsen
Visual Effects:
Peter Hjorth


An enormous organism of flesh and blood has materialised itself in The Kingdom’s rooms and corridors. On a dark and stormy night, the sleepwalking Karen senses something is wrong and travels to The Kingdom to search for answers. On her arrival, she discovers that the hospital is suffering and that she is the only one, who can free The Kingdom from its torment. At the same time the Swedish doctor, Helmer Junior, is newly employed at The Kingdom. He soon starts to feel a denigrating attitude from his Danish colleagues. Being a Swede, he puts his foot down and launches new approaches on the ward, such as total gender neutrality, which has almost fatal consequences. But evil gets in the way with even bigger and more horrifying plans. The time has come, it is going to happen: Exodus. It is now that the spirits surrounding the hospital shall be divided into the light and the dark, and the gate localized and opened. It is now the air must be cleared of the big flock that never sleeps. When good men, who undoubtedly master science and state-of-the-art modern technology fail, and even the gatekeeper himself becomes too weak, it is up to Karen to carry the seemingly impossible task through a battle with pride and stupidity. Now, more than ever, we must all be prepared to take the good with the evil, as the gateway to the Kingdom is once opening again.

Director’s Statement

Borders come in many forms; they may be lines drawn with rulers on white paper (often invisible to whoever chances to visit the actual geographical locations). The lines of the borders may be illustrative if not to say quite fictitious and downright mean; they may be drawn in a soft, red color, practically invisible, and perhaps even as a dotted line, almost as if indicating an apology or even—shame. Nevertheless, the lines hang there in inconceivable numbers, and together they constitute those ‘territories’ that the inhabitants are strong enough to defend. Entering and leaving often entail violence, for, of course, any visitor is expected to return after ending his or her business. On Earth, “the Machine that makes everything go round (all life, that is)” is dependent on the conflicts which the lines provoke, as if by design. Whether Exodus actually means ‘entering’ or ‘leaving’ depends on the angle from which the border is observed, but the word simply describes a large number of individuals crossing a pencil-drawn line together. Why?... There is an imbalance between good and evil! The limit has been reached, at least at the Kingdom... But I cannot testify that it will be easy and bloodless to pick the seven astral locks of the world simultaneously with doctor’s blood.


PRODUCTION 1: Louise Vesth – Zentropa Entertainments
Filmbyen 22
2650 – Hvidovre, Denmark
Tel. +45 36868788

WORLD SALES: Susan Wendt – Trust Nordisk
Filmbyen 22
2650 – Hvidovre, Denmark
Tel. +45 29746206

Piazza Vittorio Veneto 5
10124 – Torino, Italia
Mob. +39 3492461767

PRESS OFFICE: Michael Feder – Have
Hillerødgade 30
2200 – Copenhagen N, Denmark
Tel. +45 22434942

ITALIAN PRESS OFFICE: Alessandro Russo, Federica Aliano – US UFFICIO STAMPA
Mob. +39 3493127219 (A. Russo)
Mob. +39 3939435664 (F. Aliano)

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Biennale Cinema
Biennale Cinema