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…
Holy shit. Fuck this family. And the Dogme style.
'The Celebration', as the title implies, celebrates. From the beginning, it's seemingly celebrating a man's 60th birthday. It's not. There is a celebration, but it takes a good hour of secrets and lies to get there. It's riveting.
This comes courtesy of Thomas Vinterberg, a collaborator of von Trier, and the man behind 'The Hunt'. That should give you a little taste of how messed up this movie is. His style, the Dogme style (no post production, no artificial lights...) is messed up in its own right. I have yet to see any other Dogme films, but I'm not a fan. It's nearly…
What I Learned:
I had an amazing childhood
The best of the Dogme 95 films (that I've seen so far). Was going in expecting a heady experimental escapade rife with weird camera angles and nonsensical dialogue. What I got in turn was one of the best films I've ever seen. A solid drama made on next-to-nothing. Superb performances from all of the actors and a story that unfolds on all fronts and with the precision and ferocity of a seasoned director. The film really resonates with the attitude that simplicity is key. You don't need fancy equipment or tons of money to make a great film, and this movie is a prime example of that philosophy.
Il cinema è principalmente fatto di due elementi: storia ed estetica. Tralasciare completamente uno di questi due ambiti è una mossa a dir poco azzardata, eppure a volte ripaga: la vera arte nasce dalle limitazioni che l'artista si impone.
Come anche "Le onde del destino" e "Dancing in the Dark", "Festen" (o "The Celebration", che dir si voglia) è un film Dogma perfettamente riuscito: da una situazione normalissima si scivola impercettibilmente verso il caos più totale, dove, liberata dalle costrizioni della società, la vera natura umana si mostra nella sua terrificante violenza.
Se non credete che una perfetta sceneggiatura possa compensare uno stile visivo a dir poco particolare, state alla larga. Altrimenti godetevi questa magnifica discesa nella follia.
DOGMA 95! Immediate, no lighting, no tripod.
It takes courage to make something this dark, this funny. I was impressed by how well Thomas Vinterberg handled the stomach-churningly awful situations in The Hunt, but in this much earlier film he takes similarly unimaginable horrors and combines them with the darkest of black comedy, and... it works!
Terlalu didramatisir, mungkin karena film ini merupakan film dogme 95. Dan 'big reveal'nya gw rasa terlalu cepat dan terus diulang-ulang sepanjang sisa film.
Watched alone online
Thomas Vinterberg's crowning glory. The first feature under Dogme 95, Festen is one powerful, challenging drama that examines the tragedy of a dysfunctional family. Vinterberg puts the audience at the center of this awful 'celebration' as we witness each morally-deflated member of the family grapple through pain, anger, disgust, fear, and grief at their most horrible state. Being a Dogme feature, the film’s pure aesthetic is its visceral narrative that cuts through like a knife. It’s truly one of the hallmark films of the 1990s.
What Vinterberg totally achieved in this film is the amount of sincerity that he puts into this rich, layered narrative. In this film, it shows that the truth hurts and sometimes it’s hard to accept…
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…