Most of the rave reviews that have accompanied the release of "Breaking the Waves" have little to do with the film itself (though it does have some powerful moments), concentrating instead on the superb central performance by newcomer Emily Watson. (Although the film did win the Grand Jury Prize at last year's Cannes Film Festival.)

As Bess, Watson is in virtually every scene and handily dominates the picture, front to back. And it's not an easy role. Bess is at once shy and extroverted, virginal and promiscuous, intelligent and quite mad. Making her sympathetic and avoiding obvious caricature tricks was not an easy task, but Watson proves to be up to the task.

The film itself, however, is another matter - from its primary plot device to its explicit sex scenes to its dizzying camera work, "Breaking the Waves" is more than a little problematic.

Set primarily in a small Scottish coastal village in the '70s, the film reveals a quiet young woman who talks to God - and then answers herself using a deeper voice.

As the story begins, Bess is about to marry the macho Jan (Stellan Skarsgard), a rugged oil rigger. During and immediately following the wedding, the film takes its time establishing their relationship, as it becomes apparent that Bess is deeply in love with Jan. But his feelings for her, their attraction for each other and how they got together are never made clear.

Very soon, Jan must leave Bess to return to his job on the rig. And as they part, Bess is revealed to be a bit unstable, completely losing control at the thought of their separation.

While Jan is gone, Bess prays constantly for his return, but when she gets her wish, it is not in the way she had hoped. Jan is forced to return after being paralyzed in an accident on the rig, and, naturally, Bess blames herself for praying too fervently.

At this point, Jan urges Bess to sleep around and relate her extramarital affairs to him in detail. Right.

She initially resists, but after awhile follows through, and her escapades become more and more de-grading. To no one's surprise but hers, it doesn't help - especially when neighbors, friends and family get wind of her behavior, as well as strict church elders who run the village with an iron fist.

There are other performances worth noting here, particularly Skarsgard, Katrin Cartlidge as Bess' sister-in-law and Adrian Rawlins as a sympathetic doctor. But, despite their efforts, the characters are all underdeveloped.

Danish filmmaker Lars von Trier ("The Kingdom," "Zen-tropa"), making his first English-language film, uses chapters as a stirring transition device, each broken up by a gorgeous, static landscape shot, accompanied by a familiar pop song. (The press notes have von Trier referring to this technique as "God's eye view . . . as if he is watching over the char-acters.")

But his most annoying directorial choice is allowing cinematographer Robby Muller to employ a nervous, hand-held wide-screen camera for the entire film, which results in the most annoying, rocky, seasickness-inducing visual experience in recent memory ("The Rock" notwithstanding).

And the movie is 21/2 hours long!

Hardy art-film moviegoers may want to check it out, if only for Watson's transcendent performance. But anyone who gets nauseated at the thought of a boat ride should think twice.

"Breaking the Waves" is rated R for sex, nudity, profanity, vulgarity, drug abuse and violence.