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Undeniably Von Trier has assembled a colourful rogues gallery here. From the porters in their smocks to the chief in his suit, everyone is afforded a turn under the strip lights. But these characters are so fuelled and burdened by backstory that they’re like in-patients dragging wheeled IV drips behind them, in perpetual danger of tripping over their own feeding tubes.
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It’s disappointing to see how Exodus lines up the first two season’s soft targets for von Trier all over again and, in the process, enables not his worst and often most existing tendencies but rather his most boring.
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In the first three episodes, at least – we got more of a thin nostalgic wallow, with old running jokes revived and not much in the way of the soul-shredding showmanship and blistering image-making the Antichrist and Melancholia director has since mastered.
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