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.
It has been a while since I this masterpiece of a film, but I can without hesitation say that this is the best film i have ever seen. I was shocked and amazed by how well Vinterberg managed to depict the different characters and even deal with themes such as racism, domestic violence and sexual abuse.
The "dogma genre" is the most innovative genre i have ever seen. I totally loved the style and tone of the movie and the characters are perfect.
The film really captures the difficulties that a family has to surpass to succeed as a union. The speeches and small talks between Helge and Christian are almost frightening. The way the bond between father and son…
Experience really similar to Trier's ''Dogville''. Tells a believable story of a domestic violence without camera work or any special effects, right straight into viewer's face who won't even get an opportunity to relax from it. Scandinavians really seem to be odd people!
Tried to watch it. Got about 15 minutes in, and realized I was in for a Lars von Trier style two hora of horrible people being horrible. Why was this even in my queue? Bailed because I have better things to do with my life.
Good acting wasted on horrible characters and a tired plot.
No sé qué tiene la estética del cine dogma que se me hace tan sugerente (así como las películas de Warhol).
La cámara en mano y la naturalidad de los actores me atrapa, pero sobre todo me atrapa la trama. Reconozco que me llegué a reír, supongo que del humor tan negro que pude entrever en la historia.
The first and groundbreaking film of the Dogma 95 style made famous by Thomas Vinterberg and Lars Von Trier...
This is an uncomfortably chilling tale about the dangerous secrets that can destroy a family in which style and story don't stumble over each other. The script is well planned, the actors are skilled at deploying their emotions, and the long day's journey into night is fraught with wounds that the farcical elements only help to keep open within the most turbulent of tones imaginable. In other words, this is not the movie you take Jane or Mom to...
The realistic, almost home-video style look of the film is refreshing and effectively demonstrates the power of the medium when it is…
Worst birthday party ever. Quite funny though.
An interesting movie about power, potency (or what we call democracy), wlth a little touch of racism.. Behind a powerful scenario, Vinterberg shows us the ugly face of upper-class society. As sociologie says, family is the cornerstone of society, in that case we can see every single wrongness that could be found in modern community such as ignorance, rejection of truth, figure of Father, misuse of Power, racism... In cinematographical way, i could say it's a bit amateur with it's reputation of first Dogma95 movie, and sometimes it really annoys the spectator. Despite that effect, vinterberg gives us the reflection of the family in the society in a disturbing and poweful way, indeed..
Much like he did with his 2012 film The Hunt, Thomas Vinterburg tells another story about issues not normally faced by society. He forces us to think about the things we'd typically rather not, which as an artist is a very noble thing to do. With The Celebration, Vinterberg shows a family crumbling when a dark secret resurfaces during the patriarch's 60th birthday party.
Dogme95 is a movement all about rejecting aesthetic considerations for the sake of finding truth in cinema. It's very fitting, then, that The Celebration is the first Dogme picture: its all about showing the dark truths within the family that many would rather disguise and leave hidden. The characters and their reactions feel all too real in their rejections of reality. It's a tragic piece, unquestionably.
- 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 3D
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…