Lars von Trier, why won’t you leave us alone?

That pissy Dane is back with his latest elaborate diss on America, “Dogville.” This three-hour film was shot entirely on a soundstage in Denmark using white chalk to provide the blueprint for a fictional Colorado town. Hey Lars, blistering commentary on the stagy theatrics of cookie-cutter America!

Yet for all its contrivances (and there are plenty), “Dogville” offers perhaps the most incisive “anti-American” cinematic posit since it became chic to smirk at the United States. Von Trier’s last film, “Dancer in the Dark,” was an abusive melodrama that failed because he forgot we’re all cynics. I’ve always felt the ultimate goal of “Dancer in the Dark” was to make soccer moms bawl, to exercise a subversive invasion into American tearjerkers.

Von Trier has long been obsessed not just with American culture, but American filmmaking in particular. “Dogville” repeatedly doubts both and doesn’t always give negative commentary. The film is about Grace (fantastically played by Nicole Kidman), a dame on the run from the mob during the 1930s, who stumbles onto a quaint town that provides her asylum — before slowly turning against her. Grace is much like the donkey in Robert Bresson’s “Au Hasard Balthazar”: a Christ-like figure subject to unspeakable tortures who never cries or complains.

Grace is also a movie star — indeed, a femme fatale straight from the studio system of the ’30s and ’40s that produced co-star Lauren Bacall — stuck in an awful alternate universe filled with real, troubled people. Cue von Trier’s self-serving Americans.

Both Grace’s ideals of perseverance and stoicism and Dogville’s notions of community and cooperation are honorable yet terribly flawed. Given the film’s whirlwind finish, von Trier doesn’t condemn American values so much as he carries them to stunning, if illogical, ends. I’d much rather endure this lesson than watch a visibly tortured Bj