Enfant terrible Lars Von Trier is one cinema's true originals. From the disturbing hardcore orgy of The Idiots, to the hardcore minimalism of Dogville, there is almost no guessing what the great Dane will do next.

A minor movie, The Boss of It All is the Von Trier equivalent of bashing off an email before lunch. He makes everyone well aware of this through an occasional voiceover, admitting his film is not intended for serious consumption.

But, it is also his most accessible movie since Breaking the Waves, and the first time in a long time he has resisted putting saintly characters through harsh trials and punishment.

Ravn (Ganztler) is on the verge of selling his IT firm to a massive Icelandic investor but is halted in his tracks when the presence of his company president is requested.

Having invented an imaginary boss to handle difficult decisions over the years Ravn decides to employ an actor to portray this "boss of it all".

Kristoffer (Albinus), a failed actor takes his role rather more seriously than necessary, the Icelander delays the sale and during their goodbyes Kristoffer inadvertently introduces himself to several members of Ravn's staff.

Ravn has no option but to employ Kristoffer for the next two weeks until the sale can be completed, hoping his fiercely loyal staff don’t rumble his cowardly plan.

With its neat central idea and frequent moments of hilarity as the staff confront Kristoffer about years of decisions, promises, and even marriage propositions made in Ravn’s emails, expect The Boss of It All to receive a TV makeover at some point, or at least enjoy a long life as a management "Dos and Don'ts" training video...

Upping the farce ante, the crotchety Icelander’s lawyer is Kristoffer’s wife, threatening to blow the ruse, and Kristoffer's climactic application of stage theory to contract negotiation is comedy gold.

The Idoit’s Albinus is likeably buffoonish and his relationship with Gantzler as the conniving Ravn is an ever-watchable double act. High Fidelity’s Iben Hjejle shines as a headstrong staff member who may be wise to Ravn’s game.

Von Trier cannot resist experimenting even with this lightweight fare, using the process of Automavision to allow a computer to make shot and editing choices, lending the film an odd, off-kilter look and feel but nothing beyond the realms of a typical mockumentary movie.

Hopefully, the multiple phobic director will next complete his Dogville trilogy with the announced Washington, and then make room for more unpolished, but winning gems such as this.

Oh, and watch out for a scene in a zoo that contains the year’s best sight gag.

Gus Crotty