The Boss of It All

The Boss of It All (Direktøren for det hele)

Movie · 2006 · 13 people

Lars von Trier both wrote and directed the 2006 comedy The Boss of It All (Danish: Direktøren for det hele), which Turkish audiences could see from December 22, 2006 under the title Emret Patronum. A Zentropa production and a Denmark-centered multinational co-production, it runs about 99 minutes. It deals with power structures in the business world and mocks Danish quirks, including the country's relationship with Iceland.

At its center is Ravn, who wants to sell the IT company he founded but has long told his staff of a mysterious absent president, blaming unpopular decisions on this invented figure. When the prospective buyers ask to meet the president, things get complicated, and Ravn hires an unemployed actor to play the part: Jens Albinus plays Kristoffer. The cast also includes Jean-Marc Barr, Peter Gantzler and Friðrik Þór Friðriksson.

For this film von Trier devised a system he called automavision, in which the computer partly decides camera set-ups and cuts, giving a look that seems rough and imperfect next to conventional cinema. Critics treated it as a minor work by the director; the camera concept was mostly disliked as a repeat of the shaky camera of the Dogma 95 films. Commercially it did only moderately well.

DirectorLars von Trier
Production companyZentropa

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Jean-Marc Barr Jean-Marc Barr Actor · 66 years old Friðrik Þór Friðriksson Jens Albinus Lars von Trier Peter Gantzler Sofie Gråbøl Iben Hjejle Henrik Prip Mia Lyhne Casper Christensen Louise Mieritz Anders Hove Benedikt Erlingsson

Through different eyes

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

The real subject of The Boss of It All may be its method rather than its story. In the system von Trier calls automavision, a computer decides part of the camera angles and editing, and the result is a deliberately rough, flawed image. A director partly handing control to a machine makes an interesting parallel with a boss who hides his decisions behind an imaginary chief: who really owns the decisions? But that conceptual cleverness doesn't always pay off on screen. It's easy to see why critics called it a minor work and dismissed its camera style as a rerun of Dogma 95; the experiment sometimes breaks the comic rhythm. Intriguing for those who follow von Trier's cinema, a slight game on its own.

History & Society Lens Asks about the period, the social background and what the work reflects.

The film puts a sharp question to power relations at work: a boss who pins unpopular decisions on an imaginary manager shows how institutional a habit dodging responsibility can become. Employees believing for years in a chief they have never seen is also a clever observation about how abstract and invisible authority can become in modern companies. Von Trier also pokes fun at Danish quirks and at Denmark's relations with Iceland, and some of those local jokes may feel distant to a Turkish audience. Still, the tension between a boss eager to sell the company and the staff who trust him strikes a familiar chord in any office culture.

Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

Don't let the comedy label fool you; this isn't one to laugh along with as a family. The humour is dry and built around office life and company politics, and the picture is deliberately rough. Children probably won't be interested, and teenagers may get bored. Better suited to adults who know working life and are open to an unusual kind of comedy.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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