All the films from all the editions, including those subsequently removed, presently totalling 1154. 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.
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,…
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, 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 my money—is the one…
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…
Re-watch. I still love the raw style and vibe of it and of course the unfolding of the drama and revelations. Excellent film.
I've sat here for 15 minutes trying to write something about this film, but it is proving too hard. The film builds unbearable tension through pitch black comedy and perfectly timed dramatic revelations and reactions. My palms started to sweat when it was reaching its peak because the film is an unpredictable and unrelenting dramatic force. Truly wonderful film - this is the second incredible Vinterberg film I've seen in 2 weeks, I must see more!
As if directed by Lars Von Trier while off his medication. Unrelenting.
Primeiro filme do Dogma 95, e o maior culpado por acharem que a lista arbitrária de restrições faz um filme bom. No caso, o que faz o filme bom é o talento enorme de todos os envolvidos.
O que mais se sobressai no filme é a ousadia. Ousadia de tratar de um assunto tão difícil de maneira tão direta, ousadia com a câmera, com ângulos que flertam com o estilo MTV noventista, mas sem cair no clichê, edição rápida e impactante, e atores que mesmo fazendo papeis com grande carga emocional, ainda se parecem com seres humanos.
O filme é praticamente o oposto do trabalho mais recente do diretor, Jagten, onde impera a ponderação e as emoções guardadas. Ambos são muito bons, mas o Festen entra pra história com mais facilidade.
This review reportedly contains spoilers. I can handle the truth.
The first film made under the rules of the Dogme 95 movement, Thomas Vinterberg's masterpiece, The Celebration, is a powerful and brutally honest story of a family with deep emotional and psychological scars. As stated by the Dogme manifesto, The Celebration does away with flashy visuals and special effects, instead putting the entire weight of the film on the story and characters, ferried along by a restless, constantly moving camera that gives it the quality of a home video.
Helge, patriarch of a wealthy Danish family, is turning 60, and as is tradition, hosts and elaborate dinner party at the familial mansion with his wife, three living children, and countless aunts, uncles, cousins, and other assorted family members. From the…
Οικογενειακή γιορτή. Πατέρας κλείνει τα 60 και το γιορτάζουν. Αλήθειες έρχονται στο φως εντελώς αναπάντεχα.
Σκληρός φετιχιστικός ρεαλισμός. Υποβιβάζει τους χαρακτήρες του και τους αποδομεί άψογα. Αποτυπώνει τέλεια την άθλια ανθρώπινη φύση κλείνοντας συγκρατημένα αισιοδοξα.
Πολύ καλή σκηνοθεσία στο σύνολο.
Πολύ καλές ερμηνείες των Τομας Μπο Λάρσεν και Μπέρθι Νιούμαν.
Ο βίτενμπεργκ είναι ο καθρέφτης αυτών που σπρώχνουν τα issues τους κατω απο το χαλι.
(Θυμίζει πολύ little white lies αλλα στο πιο "δυνατό".)
Thomas Vinterberg's hard-hitter combines broad comedy and harrowing melodrama so unconditionally that it dares us to react in any manner. There are instants when a humbly gagged chuckle is induced and is then immediately smothered, as it dawns on us that a scene is not meant to be funny. Or vice versa.
- A Trip to the Moon
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- The Birth of a Nation
- Les Vampires
- The Shawshank Redemption
- The Godfather
- The Godfather: Part II
- Pulp Fiction
- The Good, the Bad and the Ugly
Some love it, some hate it, but I figured we might as well have the IMDb list here. Since it's…
- Citizen Kane
- 2001: A Space Odyssey
- The Rules of the Game
- Tokyo Story
Another year, another update. 2012 List can be found here.
The following is a really extensive and great list of…