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.
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…
Humanity at the top of its game.
The first film of the Dogme 95 movement is a superb shocking piece about the most disturbing family reunion ever. It is relentlessly grim to watch but on reflection is a deeply impressive look at lives which have been ruined by horrific childhood experiences. The anger and contempt is palpable and the Dogme 95 home-video appearance makes it all the more real and shocking. It’s a highly moving film but isn’t as powerful or as masterful as Lars Von Trier’s first Dogme 95 film (which also premiered at the 1998 Cannes film festival) ‘The Idiots’.
Festen is the first film to be a part of the Dogme 95 manifesto and it is essential viewing for any future filmmaker.
For anyone who doesn't know, Dogme 95 was a film movement set up by Dannish directors Lars von Trier and the director of Festen, Thomas Vinterberg. It was designed to wash film of aesthetic distractions and focus on character and story, to do this they threw out all artificial lighting, sound, camera equipment, and simply filmed the film with what ever they could create.
While von Trier's efforts really threw themselves into the styling, filled full of ugly continuity errors, and almost incomprehensible sound, Vinterberg's film puts tremendous effort into hiding the seams. His film has strange…
It's a giant home movie, so it makes sense to be one of the few true Dogme films; if the context were any different, I would absolutely hate the look with a passion, but it works wonders in this context. It's a good thing that the surrounding film does wonders with it, from the nonchalance of the big plot reveal to the four-way cross-cutting during the beginning, to my favourite shot towards the end, where the matriarch coldly announces to her husband that she'll be staying at breakfast, but entirely out of shot so that all we can see is his reaction. Brutal. And hilarious. And engrossing. And brilliant.
Danish drama, shot in accordance with Dogme 95. The constrictions give it a very strange look and feel , which works in contrast to the mundane setting of a birthday celebration. The plot slowly grows deeper and really hits home, thanks to some great performances. What I enjoyed most was the trained familial interactions, which is something we are all familiar with, be it not in the manner it is portrayed here.
This is the most intense, mesmerizing and accurate demonstration of why I absolutely HATE families that i've seen so far.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- The Captive
- Clouds of Sils Maria
- Goodbye to Language
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…