This is how I would introduce a newcomer to foreign classics, from most accessible to least accessible. I'm still a…
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…
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.
In many ways, the perfect film for the Christmas season.
Not because Festen is set at Christmas or anything. It's just that if you watch this film over the festive season, it will make you feel a hell of a lot better about the ways in which your family has got on your tits this year.
I guess in many ways Festen is perhaps most famous for being the film that started off the whole Dogme 95 movement. That shouldn't be the case, really, and I don't just say that as someone who couldn't give a shit about Dogme 95 and the daft manifesto that half the people who made films under it didn't even bother properly adhering to.
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…
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,…
i just read that diego luna lead the mexican stage adaptation of this and i'm honestly so fucked up right now
Aufwühlendes Ensemble-Drama über eine Familienfeier, die gehörig aus dem Ruder läuft - Ulrich Thomsen und Thomas Bo Larsen sind so gut wie immer und auch der restliche Cast macht seine Arbeit sehr gut!
Allerdings muss ich sagen, dass mich die Dogma-Stilisik etwas nervte, da sie eher ablenkt, statt die Geschichte zu unterstützen.
Dogma 95 throws out all artistic or aesthetic preferences for the essence of the story and film. For this reason The Celebration is such a feat of achievement! One never has the sense that the filmmaker is masking imperfections, tricking the audience into feeling something, or using recycled techniques to approximate "a good film." Instead, its strict vow to story and narrative (which is compelling in itself) give filmmaking a whole new meaning that hadn't yet been explored.
Want new meaning to cinema? Watch The Celebration.
A spiritual predecessor of The Hunt, from the same Thomas Vinterberg. Not great as the latter, but still really good. It feels like The Hunt is a more refined and mature version of The Celebration, both in story and execution.
Scavenger Hunt #20 – November 2016
19. A pre-2010 film shot on digital: Festen
This was a gut punch and a half. The reveal is honest to god one of the best acted scenes I have ever scene. I've never actually seen many films before where I can say every performance was spot on.
The dialogue and events which happen within the film felt very real and evenly structured and each character felt like a real person.
The ending works incredibly well in creating an odd sense of ambiguity but content as we're left with a lot to take in and think about.
Overall, Festen is a much watch for any fan of deeply dark and depressing films much like myself,
Oddly, a fitting film to watch on (American) Thanksgiving.
in all honesty, i didn't get it. i mean, on an intellectual level i got it, but really, i didn't *get* it.
Stell dir vor du wurdest als Kind regelmäßig von deinem Vater missbraucht, du erzählst es anlässlich seines 60. Geburtstages der gesamten Familie und niemand reagiert darauf.
So ergeht es Christian, einem der Hauptprotagonisten in dem Drama über eine dysfunktionale Familie.
Diese hat unter anderem Vergewaltigung, Rassismus, Alkoholismus und Häusliche Gewalt in ihrem Repertoire. Und ist die Feier einmal im Gange, fängt die Fassade der Reichen Dänen an zu bröckeln.
Der Widerspruch zwischen den charakterlichen Eigenschaften der Protagonisten, die uns Regisseur Thomas Vinterberg vorgibt zu präsentieren und deren tatsächlichen Handlungen irritiert, macht wütend und genau so soll es sein.
Der charmante, liebenswürdige Vater der nie die Stimme erhebt, ein Vergewaltiger? Der inn sich gekehrte und bodenständige Sohn, ein rachsüchtiger Egomane mit…
A stunning drama as only Dogme 95 can deliver. Stellar performances make you overlook the terrible picture quality.
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
there's a thing where you adds 'in my ass' to the end of a movie title, so here are some…