All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
A Danish film produced in the Dogma style by Thomas Vinterberg that portrays a family having a party for their father when one son makes a toast speech that tells the truth about the murder of their eldest sister possibly involving the father.
”This family...is kaput.”
In the first film created under the rules of Dogme 95 manifesto, director Thomas Vinterberg addresses some serious and gut-wrenching issues and dares to ask some unnerving questions about the value and importance of truth and challenges some unchangeable facts like the integrity and holiness of family and shows us a disordered and problematic society which is suffering from melancholy and disruption. The biggest and most admirable achievement of Vinterberg is his ability in finding a balance between making a groundbreaking visual experience and at the same time telling a story in a classic way. Anthony Dod Mantle (the cinematographer of Rush, Slumdog Millionaire and 127 Hours)does a brilliant job by inventing a mind-blowing and at times…
I've put off since last night trying to review this film, and I don't think I'm ready to write anything cohesent now either, but here goes.
"Festen" is an early Dogme '95 movie that actually excels from adhering to the strict rules. The shaky cam puts you right in the middle of the chaos, the restriced lighting has an equal effect in strengthening the feeling of losing control of the events. I've never been much of a fan of music setting the mood either, and in forbidding such effects "Festen" really gets under your skin, with awkward silences and not a drop of sound drowned out from a musical score. All…
When filming according to the Dogme 95 rules, it quickly becomes apparent that story and storytelling is everything.
The Celebration tells a terrible story, but one that is captivating in its brutal honesty. Once the setup is finished and the catalyst in the story is revealed, most films of this type fall flat. This, however, doesn't.
It is intent to wrench every ounce of grief, pain, anger and fear out of its characters and make us a participant of it. It is hard to love this film because of its subject matter, but it is easy to admire it because of the skill on display.
Because of the level of sobriety in terms of filmmaking there is hardly any static to keep us from being sucked into the horrible hornet's nest that is this family. And if you allow all this to happen it makes for a harrowing experience that cuts deep.
Vinterberg's subsequent career has been so meh-minus that I actively feared returning to this and discovering that it's actually mediocre. No worries. I'll be writing a lengthy essay for The Dissolve when we do this as Film Of The Week soon (edit: here it is), so for now here's what I wrote from NYFF '98, to which I'll add only that this is perhaps the best movie ever made about damage control.
Given the appalling, anything-goes direction in which the movies seem to be heading, with Hollywood relying on shallow spectacle and foreign/indie auteurs on callow shock tactics, it's both telling and ironic that the best film in NYFF '98—the only truly first-rate flick in the lineup, for…
festen is the first film made in conjunction with the dogme '95 manifesto, which was composed by thomas vinterbeg (the director of festen), and lars von trier.
the restrictions of the manifesto mean that the driving forces behind a great dogme film will most likely be a simple but particularly engaging story, and excellently written characters played by excellent actors. festen surpasses expectation on each of these fronts. the cast, especially, consisting of some of denmark's best actors of recent years, has an extraordinary chemistry, as well as incredible individual performances from the four leads.
the film also highlights the tongue-in-cheek nature of the manifesto. as with other 'manifestos' published by lars von trier as prefaces to his earlier films,…
Part 23 of the 30 Countries project.
For the purposes of this project this movie is classed as at least partially being of Danish origin as per its listing on imdb.
It's fifteen years since I first heard of the Dogme '95 movement and ten years since I studied the first group of films and the two major players involved in drafting the manifesto, von Trier and Vinterberg, and yet somehow viewing Festen has eluded me until now.
Festen is quite clearly the best film made under the guidelines, not just for the visceral nature of the storytelling but the way Vinterberg made the obstructions, the restrictions, the vow of chastity work for his film. It seems like all other…
A family gathers for a weekend celebration of Helge's sixtieth birthday. At dinner, one of his sons, Christian, alleges Helge repeatedly raped him and his sister Linda when they were younger. Tormented by dreams their father would molest her again, Linda committed suicide just before the events of the film.
In 1995, hoping to reinvigorate filmmaking and avoid Hollywood clichés, Lars Von Trier and Thomas Vinterberg published a manifesto regarding how films should be made, prohibiting unnatural light and props, requiring films be shot on location and feature limited music.
Directed by Vinterberg, the first film made using these principles is a a tad too sensational. The minimalism of the Dogme aesthetic almost keeps the theatrics from becoming too much,…
Shot in the dawn of the digital filmmaking age, Thomas Vinterberg and cinematographer Anthony Dod Mantle, make a lot of interesting choices with their camera; but even if the stylistic choices hadn't worked for me, the performances are deep and realized enough to fully grab me.
This review reportedly contains spoilers. I can handle the truth.
Whether people want to recognize it or not, it is hard to ignore the significance of the Dogme 95 movement of the mid-to-late 90s as a landmark movement for digital technology and independent filmmaking. Many people get hung up on its rules, which they argue are pretentious or arbitrary. They, of course, fail to recognize that none of the Dogme films actually follow the rules so stringently. The purpose of the Vow of Chastity is hardly about the rules themselves but rather what the rules represent ideologically. Dogme 95 is all about digging for the truth that hides beneath the bourgeois surface level of the cinema, about finding the gritty reality that Hollywood-style filmmaking glosses over.
In that sense, there…
Still reliably heady in kick-off of technique and rule-breaking. Plus, still squeezing laughs and awe in play. This time, there are crisp shots amid, you know, accidental lighting making the experience more lived-in and alien at the same time. All Vinterberg follow-ups fail to compare. A
'Here's to the man who killed my sister. To a murderer.'
The seminal film in the Dogme-95 movement, Festen is written and shot like a home movie. Only this is a home movie for a seriously messed up family. Everything feels so tight and intrusive that we have no choice but to believe what we are watching, and squirm and grimace at every revelation. The performances are expressive but naturalistic, and the film never oversteps the mark, despite tackling a shocking array of topics and not shying away from violence, both mental and physical. Festen is a classic example of how films exploit our perverse, voyeuristic instincts - we are engrossed by this sham of a family, and enjoy it…
This review reportedly contains spoilers. I can handle the truth.
Anlässlich des sechzigsten Geburtstags von Helge Klingenfeldt-Hansen, einem reichen Hotelier, trifft sich dessen Familie im eigenen Luxushotel zur Feier. Der älteste Sohn ist Christian, Besitzer zweier Restaurants in Paris, dessen Zwillingsschwester vor nicht allzu langer Zeit Selbstmord begangen hat. Die mittlere Tochter ist Helene, Studentin und vom Lebensstil und der Einstellung her ziemliches Gegenteil zum Rest der Familie. Michael, der jüngste Sohn und selbst Vater von drei Kindern, ist aufbrausend und sehr dominant.
Die Feier verläuft nach strickten Mustern und Traditionen. Sektempfang und Geburtstagsgesänge gefolgt von verschiedensten Gängen dekadentem Essens, immer wieder unterbrochen von Zigarettenpausen und Ansprachen der Gäste. Alles ist durchorganisiert und vom hauseigenen Personal professionell ausgeführt. Doch als Christian in seiner Ansprache Missbrauchsvorwürfe seinem Vater gegenüber einfließen…
Dieser Film hat Alles!
Er schafft durchweg eine sehr beklemmende Atmosphäre.
Thomas Vinterberg is exceptionally talented at making films about paedophilia. It's an odd skill to have, but a skill nonetheless.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…