A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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.
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…
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.
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,…
So according to these guys, the way to draw the audience's attention away from aesthetics is by attacking every aesthetic convention in the textbook... mkay..
Una Ricca famiglia Si riunisce Per Il Compleanno del padre, ma la festa viene sabotata dagli scheletri del passato che continuano ad emergere. Una Dark comedy con una regia grezza, una camera a mano Molto mossa che ricorda i filmini delle feste, inquadrature strette e un montaggio virtuoso che riesce a ricreare quell atmosfera di insofferenza che tutti abbiamo quando partecipiamo a queste forzate feste familiari. Una storia che rinchiude bene in un unico evento i rancori e il silenzio omertoso di una vita intera. Un Interessante film teatrale dove l'approccio alla storia è piu interessante della storia stessa e credo per questo motivo viene fagocitato dalla sua voglia di stile.
Overall Enjoyment 3/10
Que filme vigoroso !
I was not convinced with the shaky camera, but besides that everything else was on spot. Its clear that Vinterberg is a perfectionist, because the setting was amazing and plot-wise the movie certainly reached the needed depth.
I'd even say its thought-provoking to some degree, it leaves you wondering how some of the characters will continue life after.
Love all of the familial drama and the Dogme 95 low budget aesthetic. The natural light and the handheld camera enable the cinematographer and director to do some pretty wild and energetic shots. The writing is great, the characters are believable, the performances are terrific.
Every Christmas, I lament that I come from such a small family that is more or less broken. My parents are divorced and this schism means there are no large family feasts or mass gift openings. The Celebration is not a Christmas movie, but it does echo some of my friends' sentiments that belonging to a large family is not all fun and games. Yes, I may not revel in the same festivities as people with many close relatives, but this saves me a lot of bickering, awkwardness, and passive-aggression at the dinner table.
The Celebration teeters on a tightrope between comedy and tragedy. It succeeds as spectacle, and is never premature in divulging its revelations. Vinterberg waits for tension to kiss the brim before treating the audience to an enthralling tiff or outburst. There is a calm before every storm. Some movies are consistently thunder and lightning and it's overkill. This is positively cringeworthy cinema.
un brindis por papá
Helge, soster y Dogma 95
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