Beginning in 2001, Danish filmmaker Lars von Trier challenged his fellow director and compatriot Jørgen Leth to remake his most famous film, the 1967 short The Perfect Human, five times. Each attempt would be accompanied by its own set of limitations set out by von Trier. The result is the quasi-documentary The Five Obstructions. It is unclear at the beginning of the film how exactly the project has come to be, or even why the agreement has taken place. It is, however, in unmistakable von Trier idolizes Leth, and that The Perfect Human has played a key role in both the personal and professional trajectories of von Trier’s life. He has, by his own admittance, seen the film at least 20 times.

The self-assured manner with which von Trier metes out his so-called obstructions is fascinating. He is obviously in a role he relishes. And though in the presence of his hero, he revels in pushing Leth around with an intensity which is at once gleefully child-like and borderline vicious. In fact, the first striking aspect of the film is the dynamic between the two men themselves. Ostensibly, this is a film about Leth, remaking—and in some ways, deconstructing—his classic work. Yet the subtle calculations and intensity behind von Trier’s motives give a great deal of insight into the intentions and personality of the challenger himself. Ultimately, the film becomes as much about von Trier’s perspective as it is about Leth’s vision as a human being and filmmaker.

Each successive set of obstructions is laid out between the two men only after the previous film has been completed. Leth invariably walks away from these meetings bemused, freshly perplexed by von Trier’s latest mandate. The most captivating aspect of the film, and really, the reason Five Obstructions succeeds as a whole, is Leth’s ability to adapt to the obstructions set before him, and use these parameters as impetus for creative exploration.  His transition from perplexity to inspiration is seamless. Each new project becomes a vehicle for the Dane’s prodigious talent.

Von Trier, a man for whom control is paramount, succeeds only in pushing his mentor in new directions. Leth proves resilient, it seems, beyond what von Trier had anticipated. He appears bent on breaking Leth down, to expose something of his true self. By placing him in vulnerable situations, both geographically and stylistically, he expects the potent combination to reveal something enlightening. It is almost as if he attempts to will profundity out Leth. This proves to be a magical combination for inspiring creativity, but perhaps not for exploring the depth of Leth’s psyche. 

In the end, it can’t help but seem that von Trier’s fifth ‘obstruction’ is nothing more than capitulation. He understands Leth, without malice of any sort, has bested him. It was never a contest, but is feels as though von Trier somehow lost something, perhaps by leaving himself too exposed and only realizing it after the fact.

At the end of the film, von Trier audaciously postulates that he, though an expert on very few things in the world,  knows Leth perhaps better than even Leth himself.  Certainly a presumptuous statement, and one which further points to the possibility von Trier is attempting to manipulate Leth to fit his own vision of the man.

The last of the films is most revealing with regards to von Trier, as he only requests that Leth read a script written by von Trier, over a film of footage collected from the project itself. Certainly a perspective that is open to interpretation by all parties involved. The project, as whole, is engrossing from start to finish. The two Danes are prodigiously talented, captivating artists, no matter the questions left unanswered.