All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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.
Again, Festen is a film which is impossible to discuss without revealing the massive plot development that comes about a third of the way through the film. It's a whopper, and I'm really pleased that the first time I saw Festen went into it absolutely cold. I knew nothing about it other than it was a Dogme film revolving around a birthday celebration that goes very wrong. In fact, my friends didn't know anything else either, which meant that when the plot development came you could hear our jaws collectively hitting the floor. I've never forgotten the moment, and as it was over a decade ago I can say that Festen is a film that sticks with you. I haven't…
Superb, an absolute favorite of mine. True to the dogme manifesto and evokes a range of emotions.
A celebration of good storytelling, acting and building of tension. The only three aspects the filmmakers really cared about. I wasn't bothered by the Dogma style filming (they broke some rules I noticed, but then again, it gave me extra joy to try and find these mistakes), I was captivated from the beginning till the end. I don't know if I would care for more Dogma films. I understand the need to put more, or even all, of your focus on the storytelling, but that doesn't mean the images should be this ugly and unprepared. Still, they proved their point.
The Celebration, or Festen, is shot following the Dogma 95 manifesto and consequently it is rather shaky and murky, and yet, this goes perfectly with its thematic. Vinterberg's handheld camera creates a specific visual style but doesn't steal the show and this allows the acting and narrative to take center stage while, in this, an earlier film, the director tackles issues similar to those present in The Hunt, with quite a different result. One of the main takeaways is how the guests or "the crowd" do not react when faced with shocking news and are resilient to leave their comfort zone, their attention easily recaptured by the party and music, a metaphor that could be applied to a larger scope.…
Few films manage to feel as revolutionary as The Celebration in both substance and form. It is a film about the fall of a dictatorship, the repression of past trauma, and the victory of truth over power, all played out on a microscopic scale.
My personal reservations about Dogme films have been thoroughly disarmed having finally explored Breaking the Waves and The Celebration. There is a warmth and humanism in these films that I had not expected based on previous encounters with the Dogme films.
Controversially filmed, but brilliantly executed with every shot, every cut, every emotion, well done Vinterberg!
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…