Perhaps the most prestigious film festival on the planet has a not so secret reputation for rowdy audience behavior. If the crowd doesn’t like a film at the Cannes Film Festival, get ready for a chorus of boos—or at least that was the case for most of the festival’s storied history. Dozens of films have been heckled, walked out of, or even protested, but this trend seems to have cooled off in recent years in favor of coverage for the length of standing ovations. In this series presented and programmed by FilmScene and the Bijou Film Board, we take a look back at the films that audiences and critics wrongfully raked over the coals, reevaluating misunderstood masterpieces and cult classics. So take a second (or first) look with the power of hindsight and decide for yourself if you’ll jeer or cheer.

Lars von Trier’s (Breaking the Waves) provocative mix of drama and musical theater was the final film in his Dogma 95 trilogy. Following rural factory worker Selma (Björk), a single mother losing her eyesight from a hereditary disease. To protect her 10-year-old son from the same fate, Selma saves money to get him an operation. At night, Selma escapes into a world where “nothing dreadful ever happens,” rehearsing a production of The Sound of Music with her best friend (Catherine Deneuve). But when a neighbor (David Morse) betrays her trust, Selma’s life unravels — and the lines between reality and fantasy blur. Peter Stormare and Joel Grey also star in this trailblazing concoction that will make you cry at the same time it makes your heart sing.

In his review, critic Roger Ebert noted that at its Cannes premiere, “the auditorium filled with booing and cheering–so equal in measure that people started booing or cheering at each other.” The film was clearly polarizing then and remains so to this day, but it did come home with the top prize at the festival that year and Best Actress for Björk.